Vanish+Magic+Magazine (29)+Uri+Geller+Vanish+29

VANISH I N T E R N AT I O N A L

M AG I C

M AG A Z I N E

DECEMBER 2016

URI

GELLER UNLOCKING THE

SECRET

10 LITTLE SECRETS MAGIC ACCOUNTABILITY BUDDY

ONE-MAN SHOW Ricardo Rosenkranz

FIVE EFFECTS

.............................................. includes video instructions

THEATRE SKILLS

FOR MAGICIANS Magic Under The Influence

BACHSTAGE Immersive Magic in The VOID

MENTALISM FROM COPENHAGEN DENNIS HERMANZO “Mr. Dennis Hermanzo’s book really surprised me. I was very happy to see his use of traditional methods in very straight-forward effects that are really worth doing! Dennis explains each routine in nice and direct terms using only the minimal amount of suggested patter sot hat you can get straight to it and learn the material! As a person who has performed most of my life, I like to think I can recognize good work – this is “good work!” You won’t go wrong with this book. It is packed with good usable stage mentalism.” – Richard Osterlind. “I like your approach, nice and direct. is book is the proof that classics can be absolutely modern if used in the right way.” – Luca Volpe

Dennis Hermanzo is a European mentalist who has some fresh approaches to routines, both classic and familiar, that make this collection of mentalism routines well worth reading... Jheff (Marketplace of the Mind). $75 special price and free gimmicked blindfold - extended for Vanish Magazine subscriptions!

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WHAT’S

INSIDE...

| 48 | URI GELLER | 64 | ENTERTAINMENT MASTERY | 70 | NEWS | 72 |SNOW QUEEN

102 48 | 14 | PRODUCT SPOTLIGHT - VCM | 20 | BAMBOOZLERS | 22 |CARD GAFFING | 26 | SHOW ON THE GO

| 78 |BACHSTAGE

| 27 | COIN GRIFTER

| 84 | BILL ABBOTT

| 28 |HONEY I'M HOME

|88 | THEATRE SKILLS

72

| 94 | 10 LITTLE SECRETS

64 | 102 | ONE-MAN SHOW | 108 |DESIGNED TO INSPIRE MAGIC | 32 | MR RIGHT NUMBER

| 126 | VARIETY ACT

| 40 |MATERIAL GIRL

| 131 | MAGIC REVIEWS

December 2016 - Edition 29

VA N I S H

FROM THE EDITOR

Internatonal Magic Magazine

PUBLISHER Paul Romhany & Joomag EDITOR-IN-CHIEF Paul Romhany ASSOCIATE EDITOR Nick Lewin STAFF WRITERS Diamond Jim Tyler, Josh Janousky, Romany, Charles Bach, Timothy Hyde, Nick Lewin, Jimmy Vee, Wayne Fox, Chris Stolz, Ken Dyne, Jonathan Friedman, Charles Bach, Ben Whiting, Sasha Crespi EDITORIAL SUPPORT EXECUTIVE Richard Webster and Mick Peck ADVERTISING COORDINATOR Paul Romhany & Sydnie Anderson CREATIVE DESIGNER & LAYOUT Paul Romhany MARKETING EXECUTIVES Steve Hocevar CIRCULATION & SUBSCRIPTION Harry Morgan ADDRESS 1183 Blind Bogey Drive Qualicum Beach, BC. V9K1E6 CANADA

SPREAD THE WORD ... The big news is that VANISH MAGIC MAGAZINE is going monthly from this issue onwards. As always once the month is up each issue will go in to a back issue section on the website, with a very minimal charge per copy. Be sure to download the FREE edition each time it comes out for that month. I also suggest you sign up to the newsletter which I send out letting everybody know when each new edition is about to come out. All this information is on the website. The Criss Angel Special Edition broke all previous records for VANISH MAGIC MAGAZINE. We reached over 150,000 downloads in as short as a month and a half! This has NEVER happened before and it was largely due to Criss who sent out Tweets to his one million fans around the world. Each special edition will always remain free. They say all good things come to those who wait. Well I've waited 35 years to interview Uri Geller. When I was a teenager in high school I chose as my project in English to write a paper on his book "My Story." I distinctly remember thinking to myself, "one day I am going to interview Uri Geller," and sure enough 35 years later I got the chance. If nothing else I'm patient. If I were to describe him in one word I would say charismatic. I am convinced this is part of his world-wide success and his story is one of the most fascinating I've ever heard. Be sure to enter the URI GELLER COMPETITION - five lucky entrants will each get a personal autographed copy of this edition by Uri himself. This is an incredible prize and all you have to do is click a button.

COPYRIGHT

All rights reserved. None of this magazine can be reprinted electronically OR in hard form without the permission of the editor.

From my family to yours I wish everybody a very Happy Christmas, a wonderful holiday season and a prosperous 2017. See you all in January.

Paul Romhany

VANISH MAGAZINE

www.VanishMagazine.com

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Allan Slaight Awards RECOGNIZING OUTSTANDING ACHIEVEMENT IN THE PURSUIT OF THE IMPOSSIBLE

$50,000 will be awarded on behalf of the Slaight Family Foundation to recognize excellence in magic. Nominations and submissions are now welcome for work completed in 2016.

www.magicana.com/slaight

PRODUCT HIGHLIGHT

PRODUCT SPOTLIGHT

VCM

ONE OF THE HOTTEST PRODUCTS ON THE MARKET RIGHT NOW IS AN AMAZING DVD CALLED "VCM" BY ERIC CHIEN AND VORTEX MAGIC. ERIC BECAME KNOWN FOR HIS AMAZING DVD "COIN" AND NOW HE SHARES SOME OF HIS CLOSEST GUARDED CARD ROUTINES THAT HE HAS BEEN PERFORMING FOR THE PAST DECADE. VANISH MAGAZINE WAS ABLE TO SIT DOWN WITH ERIC AND FIND OUT A LITTLE BIT MORE ABOUT THIS YOUNG MAN WHO HAS RECENTLY TAKEN THE MAGIC WORLD BY STORM!

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etting hold of ERIC CHIEN after the release of COIN wasn't easy as he has been busy traveling. After the release of COIN, he has been focusing on competing and going to conventions to gain popularity within Asia’s magic community. Since June, he won two major competitions in China and got invited to conventions as a special guest. He also opened a lot of lectures in Taiwan and China teaching this sleight and my other materials. He was so busy that he had to take his time off to film this new DVD and we barely had enough time to finish. As a bonus to those who purhcase the DVD Eric has added a download of new deas and credits. He is currently living in Bejing.

VANISH - HOW WOULD YOU DESCRIBE YOUR STYLE OF CARD MAGIC? ERIC - I try to make everything as clean as possible by eliminating unnecessary movements. I focus on the details of the sleight of hand, for example: how every finger should move during these sleights, what angle to tilt the cards, etc. For those that have seen my COIN DVD, you should know what I’m talking about when I say details in a sleight of hand. That being said, most of the card magic I perform are a little difficult at first, but with practice it just becomes second nature. WHAT ARE YOUR INFLUENCES WHEN IT COMES TO CARD MAGIC? The first DVD I got when I first started out

“

I DIDN'T KNOW THERE WERE SUCH THINGS AS IMPRACTICAL MAGIC BACK THEN AND MY MENTALITY WAS "IF THEY CAN DO IT THEN I CAN TO!"

magic was Dan and Dave’s Trilogy Set. I didn't know there were such things as impractical magic back then and my mentality was “if they can do it then I can to!” I love practicing sleight of hand and D&D’s website offered a lot of that. Helder Guimarães influenced me a lot as VANISH MAGAZINE


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well. I bought his Red Mirror DVD the moment it came out and it really changed my life. I love every single trick in that DVD and highly recommend everyone to check it out as well. WHAT CAN PEOPLE EXPECT FROM THIS NEW RELEASE? These are some of the routines and productions that I have been doing for years. I even performed three of the routines from the DVD for my show at IMS convention. I LIKE THE WAY YOU HAVE THE DVD COMING OUT WITH ADDITIONAL BONUS AS A DOWNLOAD OR VIEWING ONLINE - THIS IS A GREAT IDEA - WHAT DOES THE BONUS CONTAIN? The bonus is actually just a short video teaching the new ending to the Aces collector taught in the DVD. This is the exact ending I performed as a special guest at IMS and wowed the crowd. I also taught a simple four card Oil and Water that I personally don't perform, but for some reason my friends love it and told me that it has to be on the DVD. I also gave credits to some people that I missed out in the DVD.

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BAR BET

BAM DIAMOND JIM TYLER Diamond Jim’s book Pockets Full of Miracles: Secrets from the Repertoire of a Professional Close-Up Magician is currently out of print and considered a classic. His new Bamboozlers series is receiving rave reviews from his peers. Nowadays, DJ performs, writes, gives private lessons and group lectures, invents routines and markets magic effects all over the world! www.diamond-jim.com

1000 DROPS BET:

Once your friends have polished off a bottle of wine bet them that you can produce one thousand drops of wine from within the obviously empty bottle.

SECRET:

This is a little bit messy so it is best to have a large tray or piece of wax paper to perform upon. However, I have executed this bet this on slick countertops and glass tables. Your audience will expect you to somehow miraculously pour the drops from the bottle, but you do something a little devious and messy instead. Get a good grip on the bottle and give it a vigorous shake while aiming the mouth of the wine bottle over your slick surface (Fig. 1). You are basically flinging out many teeny-tiny droplets and allowing them to collect on the surface of the table, countertop, tray 20

VANISH Magazine

or wax-paper. Typically after about five to ten good shakes you’ll easily have one thousand or more droplets produced. You’ll want to practice this to get the hang of it. You don’t want to shake out a bunch of tiny red wine droplets onto someone’s carpet, table cloth or their clothing. After seeing this spectacle your friends will want to wine and dine you or maybe if you’re lucky beer and cheer you.

“

“I have been blessed with a talent that amuses and amazes people. I have a lifetime of experience under my belt and yet I continually strive to make myself and my act better than the day before." Diamond Jim


DECK REVIEW

Keepers Decks Imagined by Adam Wilber and facilitated by Oban Jones. Produced by Ellusionist. At first glance of the deck, I am reminded of a lighthouse not far from where I live now. The nautical theme of this deck is refreshing, and detail of the sea can be seen within the deck's design. The lines are very clean and attention of the eyes are directly focused on the lighthouse back design. Rider back influences are seen as well in the back design, but are not over powering to the eye. The deck also has a nice marking system on the back that is easy to read and makes this deck a worker. The card stock feels lighter, and the deck also handles like it has already been broken in which is a nice added feature. The deck was released in blue and now is also available in deep red. The Ace of Spades, Jack of Clubs and Queen of Clubs have been slightly altered, but the pips have stayed familiar.

Jeremy Hanrahan is the owner/gaffer at the Hanrahan Gaff Co located in Ontario Canada. His company supplies some of the biggest magic companies in the world. His extensive knowledge in the art of gaffing keeps him busy with consulting and prototyping for some of the biggest names in magic today. His small, but always sold out retail site www.gaffedcard.com caters to unique boutique card and deck gaffs that are almost non-existent on the market today.

www.gaffguy.com

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The decks were inspired by Adams childhood. He started learning magic when he was 6 years old. Adam used to practice card magic on summer vacations in Cape Cod sitting under the lighthouse at his local beach. Nobska Beach. The deck was inspired purely from that lighthouse. The name keepers came from a story Adam had made up in his head about a lighthouse keeper who, in solitude practices card magic while he lived in the lighthouse. It has a meaning of what he consider a card magician to be. An unsung hero. All the hours he spends in that lighthouse protecting people from the danger that goes unnoticed by most people. Just like all the hours of practice a card magician puts in for his sleights to be invisible goes unnoticed by the spectators. If you are looking for a worker deck that has similar overtures in look and feel that you are used to ,then you can’t go wrong with Keepers!


coming soon…

Bill Abbott Presents

John Archer’s

y t i r b e el Cdead -ass

Does your show feature at least two of these effects?

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A great invention y magician buys “Big” Illusion ever ormed properly yet is rarely perf

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It’s a comple te anti-clima x; if Everything g oes to plan, NOTHING entertaining Happens!

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They know how ine & great One heck of a rout disprove it! choreography to

(I’m not complaining about the effects themselves, every one of them is a great effect in its own right, but rather the lazy way the same few props are chosen and presented (or mis-presented) with the same routines & music without any real imagination in what is little more than a dealer-dem. Audiences have seen these routines so many times they’ve become the worst possible cliché - not “modern classics” like you think)

Then you probably are a...

coat like they wear in “The Do you wear sunglasses on stage, a black ts combo David Copperfield Matrix” or that open blue shirt / black pan t 15 years ago!) or dress used in his last special (which was broadcas the 1960’s? in a Tuxedo like entertainers did back in Soleil” tune, some early 90’s For your music do you use “that cirque du rock or anything by Danny Elfman?

Then you definitely are a... © thomasMOOREcreative.com

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It’s just really un-imaginative, the re are hundreds of thousands of rea lly great stage effects and illusions out there; enough for every act to hav e a completely unique show; being a clon e means you’re just too lazy to fin d something that better suits you and took the easy route of watching som eon e else’s performance then just buying everything they did that you liked. I’ll bet all the magicians that inspire & excite you used unique or unusua l effects with unique or unusual pre sentations?

e is a stry – sure ther du in e th wn do y and drives are a much show, but there It loses you mone ur yo r fo ns io e 20 ce of mill you. When they se oy pl potential audien em ly al tu bookers who ac music, doing med to the same smaller number of or rf pe , ks ic tr g the SAME & choreography videos all showin ars ago” fashion ye 10 ut bo “a me sa sically th the are going to get ba ey the same jokes wi th ck pi ey th o no matter wh e one thing that they realise that book based on th to o wh se oo ch they the same show…. So the acts; PRICE. l nt to be booked differentiates al ok them. Do you wa bo d an t ac st pe you were the chea e you; or because se They will choose to nt wa d an ve your act ppened to be because people lo want to see who ha ey th s” oy “t e th on with the cheapest pers ? free on that date It makes you in to a cliché. Look at any other successful entertain ment form and you will find perfor mers striving to make themse lves DIFFERENT to everyone else’ to forge their own identity and pre sent something unique to them. If you want to see “Madonna” you have to go to a Madonna performance and wouldn’t expect to see anything like her performance at a Rolling Stones concert. Sadly too many sta ge magic shows are little more tha n clones of each other with very lit tle physical difference in the exp erience they offer to their aud ience.

By doing something different to everyone else you will make MORE MONEY (if bookers want to see an

act like yours, they’ve got to book you & your fee isn’t being compared to 20 other people with the same show!) plus you will inspire other magicians in the same way as you were inspired when you saw something different.

Don’t be a... © thomasMOOREcreative.com

be a unique you!

Words & Pictures - Thomas Moore

INFINITY CARD

This is the second month I'll be featuring another magician in my column. This time it is my buddy Ran'd Shine. Ran'd was the very first magician I ever met. He came to my college and performed his act and then afterwards jammed with me for a solid four hours. Years later Ran'd came back to my school, but this brought me his lecture notes "Magic & Aesthetics", which this piece is from. Infinity Card is Ran'd's approach to forcing the same card over and over again, but he's given it a reason, which I find quite appealing.

Effect:

Performance:

The magician has the spectator select a card, but does not look at it. He goes on to explain how the deck of cards represents a calendar, and every date has a corresponding card. Asking the spectators their birth date, the magician announces what card goes with that date.

This effect relies on a variety of card forces, while any forces will work, I highly suggest you try the ones Ran'd uses. I have seen him perform this multiple times over the years and it always kills. The reason that Ran'd uses different forces, is to make the effect seem that much more impossible.

Amazingly, the card they selected is that card! Explaining that it may just be a lucky break, the magician loses the card into the pack and has the spectator select another card. Once again it is their card. Finally the magician has the spectator cut the card several times. After the second time they chose their card, it had to be a coincidence, and he wants the magic to happen in their hands. Sure enough the spectator selects their card again, and begins to throw money in the magicians general direction.

The first force is the classic force. If your spectator doesn't select the card don't worry, you will just go on to explain that the card they selected matches their birth date. This is a great way to practice your classic force. However, if you are like me, and you can't classic force to save your life, a riffle force works well here. Have the selection returned to the deck and control it to the top with your preferred method. While explaining that the first time was luck, execute a swing cut and then return the

remaining pile to the top of the pile you just, maintaining a pinky break. This will leave you with the selection under your pinky in the center of the deck. You will now perform a dribble force. Let the cards below the break fall slowly as your dribble them from hand to hand. When your spectator begins to say "Stop" drop the rest of the pack under the break, so the force card is the last card to fall. Have them flip over the card, and explain that that time it must be a coincidence. Return the card into the deck and once again control it to the top. The final force is the cut deeper force. This is a great force, as the spectator does all of the work. Instruct them to lift up a small packet of card and flip them over so the top card of the packet is now back to back with the rest of the pack (this card is the force card). Then have them cut deeper than they just did and repeat the process. Finally have them spread through the deck and find the first face down card they can and

take it. This will be the force card. Right before they reveal the card, recap what they just did, making sure to say that they shuffled and cut the cards. While this isn't technically true, this is how they will remember the effect. Finally have them reveal the final card and explain that it must be magic that they chose it again, thus giving the effect a climax. Notes: I love this routine, because while it's as simple as forcing a card three different times, the presentation of the effect makes it extremely powerful. Thank you again to Ran'd for allowing me to publish his routine. If you ever get a chance to see him perform live, I highly recommend it. Additionally, if you are interested in how a deck of cards is related to the calendar, my good friend Josh Jay has a book on the subject. Ran'd went ahead and gave me some history on the effect, after speaking Marc DeSouza. "The first person I ever saw use the idea was Paul Gertner. I think he is the one most closely identified with it. I do not believe he has ever put the 'routine' in print, but it has been borrowed by others. A similar idea has been used in the performance of the Repeat Card Under Glass [this goes back to Chicago bar magician Heba Heba Al]. It's very effective when Doc [Eason] does it, as well as others. The danger is that it is difficult to do a challenge effect that repeats the situation without looking like a superior jerk. Both Doc and Paul are lovable enough to give it the right spin."

COIN GRIFTER WAYNE FOX A professional magician for the last 23 years, A member of the Inner Magic Circle with gold star of performance, an expert in Coin Magic and creator of The Knockout Prediction Outdone, 5221, Safe Keeping and Obliter8. Co presenter of The Wizard Product Review. A consultant for stage and screen. Famously received a standing ovation for his complete sell out Lecture Tour 'ChatterFox' at The Magic Circle HQ London www.magicfoxproducts.com

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ILLUSION

HONEY, I'M CHRIS STOLZ This illusion comes from his latest book "Hiding In The Shadows: Black Art For The Stage." This is a crash course in all things Black Art. You will learn everything from methods to lighting and the science behind it in great detail. www.stolzproductions.com

T

his illusion was inspired by the “Who’s There” illusion, which I originally read about and built from the Mark Wilson course many years ago. I loved the simplicity, but I was always bothered by the use of the curtain which, while necessary to the se-cret, didn’t really have a story-driven reason to be there. With the addition of the railings to keep everything sturdy and a spring Black Art panel, I have eliminated the need for the curtain. I like the railings because they help the entire prop look like the entry to a home, without having anything that doesn’t belong. This plays well as an opener or the production of a CEO or another guest. As you go through, and I’ll expand on this more as I go, notice how the Black Art is at least partially obscured by something for most of the routine.

The Effect The curtains open to reveal a door in a frame with a nice white railing on either side, sitting atop a 1-inch thin platform complete with a welcome mat for decoration. An assistant is on 28

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the upstage side of the railing leaning on it casually, her legs visible between the bars. She steps to the side, opens the door and walks through it to prove that it is indeed vacant. Everything has now been fairly shown to be completely emp-ty. She closes the door and we immediately hear a doorbell ring. The door swings open and we see the magician standing there. He says “Honey, I’m home!”.

The Method

is a piece of black masking along the back of the one railing to give the audience the illusion that they are looking straight through to the black curtain. What makes this interesting is that the assistant appears to be standing behind it when the effect begins. This is because the black velvet is not fixed directly to the back of the railing. Instead, the velvet is glued to a piece of 1/2” plywood which is fixed to the back of the railing with spring hinges.

The method uses a clever little dodge at the beginning to cancel itself out. Essen-tially, there

When the assistant stands behind the railing, she stands between the panel and the railing with her brightly

“

It’s excellent! Finally a book that addresses the subject of black art in illusion design in a practical, no nonsense way. This book belongs on every magician’s bookshelf!" Rich Hill Rich Hill's Illusion Shop


“

There are 10 illusions in the book, including the extremely popular SilverChair illusion! Most of the illusions are workers that you can take from venue to venue along with a couple big crazy concepts for those looking to add a little more adventure to your lives! Which ones you build and perform is of course up to you, but I promise you that each illusion will educate you and inspire new ideas!

colored costume clearly visible through the bars. Because of the spring hinge, the panel pushes gently against the back of her legs. When she steps out, the panel closes behind her so that it is flush up against the back of the railing. The magician is hidden behind this black panel until the door closes at which time he moves over, stands up behind the door and enters. One quick tip on the door itself. If you don’t want to build it, you can easily buy one. You should be able to walk into any building center, pick up a pre-hung door in a frame for relatively cheap. It’s already built, it’s usually square and they even come pre-painted. The exception here is if you are looking to really cut down on the weight, in which case by all means build something lighter. But check with your local building store first, you’d be surprised at how light some of the pre-built doors can be today.

Putting It All Together The construction of this piece is rather simple. You will be building this in 4 pieces: Two sets of railings, the door unit and the floor. The railings are fairly simple. You can screw each together as its own solid unit as it will never need to come apart. What you use for material is up to you. I would personally build the frames out of 2x4 and use 2x2 for the VANISH MAGAZINE


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It is important that check your angles carefully prior to the show to make sure you cannot be seen. If there is any chance of flashing the method, move the entire prop a little further upstage to tighten up the angles. If you are still nervous about flashing, attach an additional piece of black fabric to the back of the panel along the top edge which hangs down. This can be thrown over your head to further protect you from inadvertently poking your head up and being seen. When in doubt, more black fabric can often save the day.

Performance All mentions of “the railing” in this section are in reference to the horizontal railing with the Black Art panel.

vertical railings, installing them on the downstage edge. These should be painted a light color, or left with a light wood finish. The panel is cut from a single piece of ½” plywood. On one side, glue and screw a 2x4 along the length to give you something strong to put the spring hinges on. While you can bolt the spring hinges through the plywood, some of them can be quite strong and I have seen props get ripped right off the hinges just from opening the door, so I like to beef it up to give myself something solid to screw into that I can rely on. Cut the velvet to fit, glue and staple it down. The panel is then attached to the back of the railing so that is it held tight to the back of the railing when it is not held open. The hinge goes on the non-door side which in my case is the stage right side. Paint a cabinet handle white (so you can find it) and affix it to the back of the panel. Finally stick some felt pads, the kind used on the bottom of chairs, to the railing where the panel makes contact. This

will cut down on the noise so the front row doesn’t hear a loud clunk when the panel closes. The platform is simply a sheet of 1” plywood with 2” tall legs made from 4x4 blocks, each with a caster. Note that the back legs are flush with the back edge of the platform. This is to allow you to attach a piece of black 1x3 along the entire back edge which prevents the front row from seeing your feet. The door simply consists of a door in a frame with the hinges on the stage right side. To put this together, attach the railings and door to each other and the platform using your favorite fastener. I like to pre-drill and pound T-Nuts and use bolts to tighten everything up. You could also use a bolt with a wing nut. I would avoid using hinges with removable pins for this prop simply because I like to be able to get everything nice and tight to avoid movement from the railings when the door is opened and closed. VANISH MAGAZINE

You can bring the prop on a few different ways. You can either bring it on behind a closed curtain, during a blackout, or simply roll it on during the show. To roll the prop on, you’ll need to build the floor so that you have some extra inches behind the railing and door, which you can paint black. This section gives you something to stand on while the prop gets wheeled on. Be sure to also include some handles to hold on to. Try to avoid walking behind the prop. It is much more difficult to walk in time with the prop without flashing than it is to simply hold on for a short ride from the wing to the stage. I personally prefer to start from a closed curtain or blackout so my assistant can be behind the railing from the very start. When the lights come up, the door is closed and you are hiding behind the panel with your assistant leaning casually on the railing with the panel up against her back legs. When your assistant steps to the side to open the door, the panel will close. When she opens the door it will cover the railing completely. She walks through, pauses for a beat to gesture and closes the door. Once the door has been closed, she stands in front of the railing with her attention focused on the doorway. The moment the door closes, you simply crawl behind the door, stand and wait for your cue to open it.


30

You’ll notice that the Black Art is never left on its own for very long. At the start, her legs cover a good portion of it, followed by the open door as she displays the empty doorframe, followed by her legs and body as she stands awaiting your appearance and finally the door again once you have opened it and entered. This is important because we’re being careful not to over milk the method. We’re using it when we need to, but employing other cover throughout. Be careful however not to add cover just for the sake of adding cover – it has to make sense in relation to the props or the sequence of events taking place.

Lighting This effect is actually quite easy to light, particularly because the vertical bars break up the space in front of the Black Art. If you are nervous about lighting the bars from the front and casting shadows on the B.A. panel, you have several options. First, you can simply enlarge the width of the vertical railings and decrease the space be-tween them. Be careful with this however as too tight of a gap will just make it look like a solid wall with black stripes. Another option that works well is to put a house plant in front of it to break things up. Because this is made to look like the door of a home, a tall fern would fit right in as long as you don’t cover the entire thing with it which would then negate the use of Black Art anyway. Finally, you could put some-thing on the railing like your jacket which be can removed immediately after you appear and put on. Generally speaking, most of the light should be focused on the door since it is the focus of the magic that is to happen. If you don’t have the luxury of focusing your lights for this one illusion alone, consider dimming all of the light and putting two small lights on the floor of the platform on the downstage edge pointing at the door, making the lighting self-contained within the prop itself.

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MUCH

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MORE THAN A WORK ON LAPPING

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Comin

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Super

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MENTALISM ILLUSION

MR RIGHT NUMBER KEN DYNE

M

aybe like me you’ve read all of those living and dead tests that mentalists have written about for years and thought - yikes, that’s a bit sinister?

The presentation I came up with for a modern, light hearted and (dare I say it) amusing version - I think is much more suitable for a modern audience.

THE EFFECT:

The debonaire performer talks about how one of the hardest things about being single is finding the courage to walk up to a total stranger and start a conversation. As if that’s not scary enough, we then have to risk rejection as we ask for their number. But the pain doesn’t stop there because after a night of plucking up such courage we then have that nerve-wracking moment when we call the number, hoping the girl gave you her real number. How do you know if you’ll be calling Busty Bernice from Boston, or will Balding Barry from The Bronx answer the call? That is one advantage we have as magicians and mentalists.

“I’d like you to write your number next to any one of these 6 numbers. You can write next to number 1, you and write your number next to number 2…any number at all including the last number, number 6.” He hands the lady the pad and averts his gaze. Once the lady is finished writing he has her close the pad, turn around and point to another lady in the group. "Would you please just toss the pad to this second lady. Madam when you get the pad, open it up and write your cell number next to one of the other numbers please?” This is repeated until 6 people have written their cell phone numbers, and thus there is a cell number next to each of the numbers 1 - 6 on the pad. The pad is now tossed back to the performer who takes out his own cell phone and looks directly at the first lady. “Madam, would you please take your cell phone out and put the volume on high. I hope for all of our sakes that your ringtone is not anything too corny.”

“Madame, do you know your own cell phone number?”

The performer opens the pad and gazes down the list of numbers, all written in different hand writing styles from each of the women.

She confirms that she does. The performer opens a small pocket-size pad of paper and writes a list of digits from 1 through 6 one under the other.

"You are a confident person, which I think in your line of work is pretty critical isn’t it? But you also know when to be more subtle

and not overly pushy. So you wouldn’t have written your number next to #1. That’s just too much too soon - something else I sense you have experienced, right? …Okay” He picks up his cell phone and dials a number in to it - pauses for a moment and then hits the button to dial. After a moment of tension (naturally caused by phones taking a moment to connect) the lady’s phone starts ringing…“You Don’t Know You’re Beautiful” by One Direction plays loudly. The performer nods at her to answer the call. As soon as she picks up he turns his back to the audience and is heard to say “I think I know why you’re single!”. Laughter and applause ensued.

THE SECRET This is mainly a presentational frame that I’ve been using for a little while now for the Living and Dead Test. I first shared the rough idea in a passing moment on my Penguin Live lecture however this is a more fully fledged version. The method is not something I have seen elsewhere and find it to be quite interesting. I wanted a method for this that would allow the ladies to use their own pens so i could not use many of the standard methods that involve something special with the pen to indicate which one of the listed numbers is the right one. I also didn’t want to have to take the pad back or handle it from the moment it goes out to the first lady until the very end. For this I use a Kozar Prediction Pad. This is a locking add-anumber pad that is traditionally used to switch one set of digits for another in order to match a prediction. If you don’t have the Kozar don’t worry. You can just use a small pocket pad. I’ll explain the method as if using a regular pocket pad, and owners of the Kozar will easily see how this applies to that gimmick. To set up open the pad to the front and write down a list of digits 1 - 6 in Sharpie. 1) 2) 3) 4) 5) 6) Next to one of the digits you write a phone number using one of the pens from the event you are working - or just a regular ball-point pen. I just write any old thing and I write next to the number 5. Now close the pad and you are ready to go. In performance open the pad upside down, to the back page. Take out your Sharpie marker pen and write a list of numbers 1 - 6 to match the appearance of the ones you wrote in the front before the show. Writing these live during the show makes the effect appear more organic and throws people off the scent of you having prepared anything. Hand the pad out to the lady who’s number you will get and have her write her number next to any one of the digits. This next moment will take a little bit of nerve but it is totally inconsequential to the effect that you’ll see it flies by without question:

Have the lady close the pad - yes she will see that it’s the back of the pad, but it really doesn’t matter. Now she is to toss the pad to a second lady. As soon as the pad lands with this lady, have the 1st lady to sit down and face you - that way she won’t see what the second lady does. The second lady will naturally open the pad to the front; and since the pad was thrown through the air it’s original orientation will be lost. The second lady opens the pad to the front and will see the number you previously wrote next to the number 5. She will assume that this was the number the first lady wrote. You repeat this process of having the pad thrown around until person #6 has filled in their number and then you have them throw the pad to you. Now all you need to do is open the pad at the back and the only number written there will be the one written by the first lady. Of course you’ll act as though you are mentally sifting through a whole list of numbers. We do need to cover the moment we open the pad up in our hand as the audience will see you opening it from the back. I cover this moment by turning my back to the audience to approach my table to pick up my Sharpie - which I will apparently use to scratch out the other numbers as I zero-in on the right number. I like this method because the number is staring at you in the face and you don’t need to rely on looking for smudges and you don’t need to handle the pad or the pens during the routine. It feels very hands off and natural. The effect is made even stronger by use of the Kozar pad, as owners of this piece of kit will appreciate. If you want more from me, I have a nice routine that you can have ready to go at a moment’s notice on your mobile or cell phone or iPod mp3 player. I call it ‘I Thought So’ and you can download it at mentalunderground.com/ithoughtso

After much anticipation Ken Dyne's infamous version of the 'Tossed Out Deck' is being made available (in limited quantity) to the magic and mentalism community. Tossed out deck is one of the strongest openers relied on by top professionals around the world, and has been for years. And for very good reason. Now imagine performing the ‘tossed out deck’ and really naming the three thought-of cards individually. That is Passed Out Deck.

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JONATHAN FRIEDMAN MATERIAL GIRL Jonathan Friedman is a professional ‘musician-turned-magician’ with over twenty years in the biz’. As an author, his “The 80’s Called...They Want Their Magic Book Back Vol. One” garnered rave reviews across the board, as well as winning the 2015 Vanishing Inc. “Trickie” Award for Best Magic Book. Jonathan’s brand of quirky close-up gets tested daily while he works as a demonstrator at one of the busiest magic shops in the land, Market Magic Shop in Seattle, WA. 42

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Effect:

In the aims of impressing the object of your desire, all of the hearts are magically produced from a face-up/facedown-shuffled deck. But just in case Hearts aren’t enough to win over this hottie, all of the Diamonds are produced in numerical order from this shuffled deck...proving money CAN buy you love.

Needed:

A deck of cards.

Preparation:

Separate the red cards from the black. Take the red cards and further separate them into Hearts and Diamonds. Place all of the Hearts (in any order) face-down on top of the face-down black cards. Set all of the Diamonds in numerical order (King down to Ace) face-down on top of the deck and let’s begin.

Presentation: Hold the deck face-up in the left-hand dealing grip. “I know what you are thinking. ‘Card magic is fine and all but how can I use it to get a date?’ Well...I usually wouldn’t share this info with just anybody, but you seem nice. People often think that women are going to be impressed by things like tenacity, hard work, physical effort, strong work ethics, blah... blah...blah.” Push off all of the black cards into the right hand. Keep these black cards in a small messy spread, held between the thumb and fingers of the right hand. “I’m here to prove otherwise. Here watch. This deck is divided into black cards…” Allow the red cards in the left hand to spread out enough to see that there are no blacks among them, but not so much in that you expose the separation of Hearts and Diamonds (fig. 1). “...and red cards.” Square up each half and give them a face-up riffle shuffle. For aesthetic purposes, finish the shuffle so that at least one red card from the left hand falls on top of everything. “l’ll show you a flat out, hardcore display of blood, sweat, and tears. We all know that shuffling cards is very, very hard work. Blisters. Potential paper cuts. It could very nasty.” Spread the face-up cards between your hands casually, showing a natural mix of reds and blacks. “Wow! I’m outta shape. That was tougher than I remembered. A shuffled deck.” Tilt the faces of the cards toward yourself and spread through them again. This time, up-jog all of the black cards

as you get to them (fig. 2). The beauty of this situation is that the Diamond stack that was on top of the deck stays in numerical order at the back of the shuffled face-up red cards due to Charles T. Jordan’s wonderfully rockin’ principle of interlocking chains (Greater Magic by John Northern Hilliard-1938). I first discovered this principle in the modernday classic “Play-It-Straight-Triumph” (Impossibila by John Bannon-1990). “As hard as that was, I’m gonna amp it up for you. Unshuffling a perfectly shuffled deck...just to try and win a little bit of admiration from...somebody like you.” Strip out the black cards and hand them to your spectator with instructions to shuffle them thoroughly. “Yeah, I know, Just like I said. Not terribly impressive. Here, would you help me shuffle these?” While this is going down, you are going to appear to shuffle the reds for yourself, but in reality, you will need to keep your Diamond stock on top in order. You will be utilizing a most excellent in-the-hands false shuffle entitled The Charlier (or Haymow) Shuffle (The Royal Road To Card Magic by Jean Hugard and Fred Braue -1948). This exceptionally easy false shuffle is very deceiving. The cards will appear to be completely mixed but the truth of the matter is that they will only be given a series of straight cuts. Chances are, you will fool yourself with just how good this false shuffle looks. While holding the face-down red cards in your left-hand dealer’s grip, use your left thumb to push over a small chunk of them into the right hand. These cards will be gripped between the right thumb and fingers, with the fingers contacting the cards’ faces (fig. 3). Next, with the left fingers, push over five cards or so from the bottom of the left-hand cards. Take this batch on top of the cards in your right hand, readjusting the right thumb so that it can clamp down on top of everything in order to hold them in place (fig. 4). Again, using your left thumb, push off yet another small batch of cards from the top of the pack, taking them underneath the cards in the right hand (fig. 5). Repeat this alternating “on top/underneath” cutting pattern until all of the cards are now in your right hand. “There was a time when simple shuffles like these could make the hearts start to flutter.” Once this is done, casually spread the red cards between your hands with the faces toward yourself. In-jog the Ace of Diamonds, before cutting the King of Diamonds to the back of the face-up spread (fig. 6). As you square up your face-up cards into the left hand, press down on the in-jogged ace with your right thumb and temporarily hold a left pinkybreak above it (between the Diamonds and the Hearts). From above, grab the face-up red cards in right-hand overhand grip, transferring the pinky-break to your right thumb. “But now things are different.” Take the face-down black cards from your spectator into

left-hand overhand grip in preparation for a face-up/facedown riffle shuffle. As you prepare to flex the cards to shuffle them, obtain a small left-thumb break between the top facedown card and the rest of the cards in the left hand (fig. 7). “No more straight up shuffles.” The basic gist is this. With one riffle shuffle, you will be left with the deck in the following order: Face-down black card, all of the Hearts, and then all of the numerical-ordered Diamonds interspersed with the rest of the face-down black cards. Now let’s get you there. 1. Release about five cards off of the left thumb. 2. Evenly shuffle the right-hand Diamond run above these five face-down cards so that they are mixing into the middle third of the cards in the left hand (fig. 8). 3. The left thumb then riffles off all of its cards except for the top one (fig. 9). 4. The right thumb then riffles off all of its cards (the Hearts) beneath the single card held back by the left thumb (fig. 10) 5. Finally, the left thumb releases its single card followed by an in-the-hands bridge. Of course, these steps should blend together to look like one normal riffle shuffle. I like to perform this in-the-hands shuffle with the bottom of the cards facing the spectator. I find that this helps cover some of the riffle stacking that just occurred. Yes, you just riffle stacked. Congrats! “Gotta mix them up in a way no one has ever seen before. Like this.” Spread through the cards by pushing over all of the face-up hearts in a block, so that they are not seen, showing a mix of face-up red and face-down cards. Show the other side of the spread to be the face-up blacks mixed with face-down cards (fig. 11). “I know. Completely reckless and dangerous. The bad-boy type. Some ladies like that.” Close the spread and hold it in left hand dealer’s grip. Obtain a left pinky-break directly below the face-up hearts. This is quite easy due to the face-up/face-down natural break that occurs. If your break isn’t as natural as it should be, use your right thumb to riffle up the back of the cards until you spot the lowermost Heart. “But I know what they really want. Women want ‘love’ or they want ‘money’. That’s it.” Use your right thumb to lift up the inner-end of the top facedown card. Use the ball of your left thumb to hold a separation between it and the face-up reds (fig. 12). You are going to ask your spectator to choose Love or Money. Let’s assume that “love” is picked. “Please select one? ‘Love’ or ‘Money’? Love?” Reach into the gap with your right fingers pinching all of the Hearts in between the thumb and first two fingers (fig. 13).

“That’s an easy one.” As you remove these Hearts from the rest of the deck, perform a one-handed fan with them before tabling them in front of you (fig. 14). “All you have to do is grab a hold of her heart and don’t let go.” For the big finale, give the deck a riffle. “And for those out there that need the ‘bling’? I’ve got you covered.” Triumphantly spread them out to reveal that each and every face-up Diamond has become impossibly shuffled...into numerical order. “Just keep the Diamonds somewhere where you can get to them easily...in perfect order.” Of course, if “money” is selected, not “love”, simply say something like “I figured as much. Anybody can get love (produce the hearts), but the rest of you want the “bling” and then produce the spread-out diamonds.

One last note… I came up with this routine while playing around with Steve Mayhew’s Center Deal routine (Mayhew: What Women Want by John Lovick-2014 ). Andi Gladwin also has a devilishly awesome routine along the same lines. I could not perform the necessary moves needed, so I came up with a different approach in both presentation and method. Finally, my minimalistic card handling skills paid off!

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Les French TWINS

URI GELLER Unlocking the Secrets BY PAUL ROMHANY

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An American Psychological Illusionist, Actor, Director, Writer and Producer. Strebler started practicing magic at the age of seven after seeing a live Harry Blackstone Jr performance. As an adult, Strebler started his acting career and moved to Las Vegas where he started construction on his multimillion-dollar illusion show.Some of his earliest acting roles inculcated Sesame Street and at 17 he was on The Young and the Restless and Guiding Light.

BY PAUL ROMHANY

M

y fascination with Uri Geller started in the mid 70’s when, as a young boy in New Zealand, my family and I would gather around the television to watch him bend spoons. Once the show was over we'd run to the kitchen to see if any of our cutlery was bent. In the 1970’s Geller was a superstar, the first and only person to become a household name around the world as a psychic. Five decades later, he is still at the forefront of the psychic world, and his skills have inspired movies such as Red Lights, starring Robert De Niro, and The Men Who Stare At Goats, in which the character played by George Clooney was based on Uri. He is mentioned in at least 1250 books, and has befriended leaders of the political world, as well as world famous artists such as Salvador Dali. Johnny Cash wrote a song about his spoon bending, and he's appeared on all the major talk shows. His many exploits have filled newspapers all around the world. He has rubbed shoulders with celebrities such as Michael Jackson, John Lennon, Elton John and magic’s own David Blaine, who in an interview said he grew up admiring Geller. In recent years, the TV show The Successor – Finding the Next Uri Geller was shown in Holland, Hungary, Turkey, Greece, Ukraine, Sweden and Russia, and produced in England, Spain, Italy and the Czech Republic/Slovenia. The Successor was televised also in Canada, Iceland, Australia and Finland. Then NBC picked it up and it became known as Phenomenon. A&E, the American cable network, broadcast the NBC version of Phenomenon in Latin America, including Brazil, Argentina, Venezuela, Colombia, Mexico and other South American countries. Back in 1952, in an apartment of war-torn Tel Aviv, when the mother of a six-yearold boy watched his soup spoon bend in his hand, who would have guessed that he'd grow up to become the most famous and controversial psychic entertainer in the world? If you Google the name Uri Geller you’ll get more than half a million pages, which is several hundred thousand more than that of any famous living magician you can name. Uri Geller created a cultural phenomenon. To many magicians and mentalists, Uri Geller is a living legend. He has inspired generations of mentalists and is the creator of metal bending and in particular spoon bending. The one thing skeptics and believers have to agree on is that no other psychic entertainer has achieved as much fame and fortune in history as Uri Geller. He was, and still is, a phenomenon. Geller has had his fair share of skeptics and critics over the years. In the magic world both James Randi and Milbourne Christopher came out strongly against

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PHOTOS in the article are by: Glyn Ridgers, Sebastian KonoPIX and Thom Bleasdale and Ofer Amir.

PHOTO BY: Thom Bleasdale

“

To many magicians and mentalists, Uri Geller is a living legend. He has inspired generations of mentalists and is the creator of metal bending and in particular spoon bending

PHOTO BY : Glyn Ridgers

At the time nobody realized that this attempt at debunking Uri actually led to even more fame ...

him, and countless people have written books on Uri, trying to solve the mystery. In 1973, Johnny Carson had a legendary run-in with Uri when he invited him to appear on his show. Carson, an experienced stage magician, wanted a neutral demonstration of Geller's alleged abilities, so, at the advice of his friend and fellow magician James Randi, he gave Geller several spoons out of his desk drawer and asked him to bend them. Things didn’t go well, and Uri quickly realized he had been set up to fail. When I asked him about this famous incident he told me he felt extremely depressed afterwards. At the time nobody realized that this attempt at debunking Uri actually led to even more fame, because the very next day he was inundated with calls asking him to appear on other talk shows. This helped raise his profile in America to the point he was making national news. Back then, Merv Griffin was as big as Carson and Uri was asked to appear on his show, which was hugely successful for him. Without the skeptics, chances are Uri wouldn’t be as famous and as well known as he is now, and he is quick to acknowledge this. He jokingly told me James Randi was his main publicist. Skeptics act almost as his publicity machine keeping his name in the public eye even to this day. My objective with any interview is to see if I can unlock the secret as to what makes a person successful in their career, and to see if they can share a few key elements that might shed some light on helping others 54

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find their own success. Uri was very generous with his time, and was happy to open up about his life, his work, and his beliefs about why he became such a superstar. Right from the outset he told me that early on he wanted fame, and in his words, wanted to be a psychic rock star. I think there is more to it than this, but let’s start from the beginning. Uri’s father, Tibor, was a Hungarian Jew who escaped Nazi oppression in 1939 and went to Israel. His mother Margaret (Manci Freud) soon followed, and they moved into a run-down apartment block in Tel Aviv. Tibor found a job as a taxi driver. Uri was born in 1946, an only child until he later learned that his mother had had eight children, and his father had forced her to abort them all. One abortion happened in the back of his father's taxi. In a rare interview, Uri’s mother said that she felt her son stood out from the other children and that his sixth sense seemed more developed than others while growing up. She also attributes some of his abilities to her famous relative Sigmund Freud. Interestingly, in his passport Uri’s full name is Uri Geller Freud. I asked him about the first time he


felt some kind of connection or psychic ability, and he told me that he believes it happened when he was five and had a mysterious encounter with a sphere of light in a garden near his house. A narrow beam of light came out of the pulsating sphere and hit him in the forehead, knocking him to the ground. He recalls telling his mother who at the time didn’t believe him. A few days later she witnessed a spoon he was eating from bend double in his hand. As a young child he continued to demonstrate his talents to his teachers and friends at school. By the age of seven or eight he wanted to use his skills to buy his mother things they could not afford. At that time the family lived in a one-bedroom apartment, where his mother worked as a seamstress and his father was a taxi driver. For an eight-year-old to be so aware of what he could do, and how he could make money from it, shows a mind well beyond his age. Even at such an early age there was a hunger and desire to aim big. In 1956, at the age of 10, Geller’s parents divorced. Tibor, his father, was a philanderer and paid very little attention to him. Uri remembers his father's girlfriends whistling downstairs from their apartment to


get Tibor’s attention, and this hurt his mother immensely. Those whistles, Uri says, pierced his mother’s heart. He later told me that his father’s downfall was his good looks, something I think Uri inherited and was later able to use to his advantage when he became a male model and started mixing with the A-list in Israel. A little while after the divorce, Uri’s mother met Ladislas Gero, a pianist/ dancer who ran a small hotel in Cyprus where they eventually lived. Uri attended the Terra Santa College, and learned English. The hotel was frequented by artists, actors and dancers, but also Mossad agents. Mossad is responsible for intelligence collection, covert operations, and counterterrorism. As well as bringing

Jews to Israel from countries where official Aliyah agencies are forbidden, Mossad protects Jewish communities. Its director reports directly to the Prime Minister. Once Mossad discovered the Gellers were from Israel, they slowly turned the hotel into a Mossad safe house. At the age of 13, Uri demonstrated his psychic abilities to a Mossad agent who told him when he returned to Israel to join the paratroopers he would introduce him to all the right people and he'd be assured of becoming a Mossad agent himself. Uri told me how excited he felt on being told he could be like James Bond. Uri continued to show his psychic skills to his school friends and all those who frequented the hotel. To this day, his old school friends tell stories of VANISH MAGAZINE

At age 13 uri demonstrated his abilities to a mossad agent.


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Uri with his famous car covered in spoons. PHOTO by Sebastian KonoPIX

Uri was used as a spy of sorts when various governments used him to help out in certain situations.

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the strange things that would happen when they were with Uri. At 18, he returned to Israel and served as a paratrooper in the Israeli army. It was during this time that he read that the agent he had met had been killed in a raid and Uri's dreams of becoming a secret agent were shattered. Later in life, however, he was used as a spy of sorts when various governments used him to help out in certain situations. During his time as a paratrooper he ended up fighting in the Six-Day War of 1967. Uri speaks openly of a near-death experience where he came face-to-face with a young Jordanian soldier who was pointing a machine gun at him. Geller had an Uzi and whoever pressed the trigger first would survive. This was the day Uri Geller killed a man. It was war, and had he not shot first, he would have been the one to die. The six-day


war changed not only Uri’s life but his psychological condition as well, which he says still affects him to this day. Later, Uri was wounded in action and was put on light duties while he was recovering. One of these was being a camp councilor for a summer camp of Israeli young people. Being the natural born entertainer that he was, he entertained them with his psychic abilities and became the star of the camp. It was during this time that he met Shipi Shtrang, a young man who became a lifelong friend as well as his personal assistant and manager. Uri jokingly says that he became fiends with Shipi so he could meet and date his sister. One thing Uri had inherited from his father was his good looks, and he was enjoying the playboy lifestyle that came with the small

amount of fame he was starting to get. As it turned out, many years later Uri married Shipi’s sister, Hanna. For a brief stint after the war, Uri worked as a male model doing various advertising campaigns, and modeled everything from cigarettes to towels. He quickly became part of the smart set in Tel Aviv. If you look at his website you can view some of the campaigns he appeared in. His performances at fashionable parties were turning him into a celebrity, and along with the fame came what he always wanted … money. Uri himself admits that during this period he was on an ego trip. He was after fame and fortune, and while he met many wonderful women, he didn’t have the time for serious relationships. Part of any successful person is the drive they have to reach their goals. Uri had talent and charm, but he also had a deep desire and was focused on the end result – fame and money. It was clear from early on that Uri had set himself a goal. This would be his driving force to fame and fortune. He would make sacrifices in his life to get what he wanted, and while he was young it meant leaving relationships. He had found something that made him special, and he took that talent and honed it over a period of time and kept focused on his ambitions. He was becoming famous in Israel, but wanted more. He, and his manager and friend, Shipi, set up

performances in theatres and other venues around Israel. People flocked to see this young sensation. Up until this point Uri had been riding high on a wave of people who loved what he was doing. His first taste of skeptics occurred when he appeared on a well-known show in Israel called Boomerang. When he walked out on the set he was jeered and booed at by the skeptics. Until this moment he hadn't realized that not everybody believed in the paranormal, and it was there and then that he realized this type of controversy would follow him throughout his entire career. During one particular night in a theatre, Uri stopped his show and made a prediction, that his manager thought would ruin his career. He said that Nasser, the President of Egypt at the time, was about to die. A few hours later the President did indeed die, and Uri became an overnight sensation. He was given a huge boost by the new Prime Minister, Golda Meir. When she was asked on a national radio programme what she predicted for the future of Israel, she replied, “Don’t ask me – ask Uri Geller!” When the leading political leader of your country refers to your name you know you've made it! The then government of Israel had more interest in Uri than just entertainment. On one occasion he had a secret meeting with the Defense Minister of Israel about how they could use his talents and skills to help the

PHOTO RIGHT: car covered in bent spoons


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almost overnight Uri became a sensation in the USA. He was A popular guest on Talk shows but the big one came with the famous Johnny carson show.

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Mossad agents. He would be called on again to help his country in 1976 when Palestinian terrorists hijacked a plane carrying 105 Israeli citizens. The Israeli intelligence asked Uri if he could mentally block all the radars between Israel and Uganda where the plane was taken. The world was shaken to learn that all 11 satellite stations on that path did not pick up the convoy going through to rescue the hostages. The headlines around the world said that Uri had indeed blocked the satellites. By the end of the 1970s, Uri had become a household name in Israel and felt it was time to take his act to the United States. What he didn’t know was that he had caught the eye of the CIA. It was the height of the Cold War and the American Intelligence Agency believed that the Soviets were training psychic super spies. The CIA had also started a programme and were looking to recruit their own psychic team. They partly funded Dr. Andrija Puharich who went to Tel Aviv and spent a few weeks conducting experiments on Uri. This is exactly what Uri had been after: a chance to be tested so he could show people his skills and what he could do. Armed with the results, Andrija flew back to the USA to convince the CIA to have Uri join their ‘X-Men’ team. Shortly afterwards, Uri and Shipi flew to the USA to conduct experiments with Stanford Research Institute (later to become Stanford University) to determine if his powers were real and, if so, how they could be harnessed for the good of America. The tests all worked in Uri’s favor

VANISH Magazine


and near the end, as it turns out, the CIA didn’t really know what to do with him. However, they had something in mind that could have meant Uri would have to remain in hiding for the rest of his life. The final straw came when they put Uri in a room and asked him to stop the heart of a pig. It was at this point he realized they were grooming him to be a psychic assassin. The Men Who Stare at Goats (2004) is a book by Jon Ronson concerning the U.S. Army's exploration of New Age concepts and the potential military applications of the paranormal. The title refers to attempts to kill goats by staring at them. This eventually became a film in 2008. Uri told me that eventually a secret agency would want him to stop the heart of the head of the KGB. Feeling his life was in danger, he walked away from the testing but remained in New York. Almost overnight Geller became a sensation in the USA. He was a popular guest on talk shows but the big one came with the famous Johnny Carson show. It was at this point that Geller realized that there is no such thing as bad publicity as long as they spell your name correctly. Uri reminded me of a famous Oscar Wilde quote, “There is only one thing in life worse than being talked about, and that is not being talked about.” Publicity, controversy and PR is all about making yourself mystical and mysterious, and then people will be curious about you. After the failure of Johnny Carson, it was the

beginning of Uri Geller around the world. The day after Carson he was inundated with calls to do more talk shows and the Carson show helped what was known as Geller Mania. This would take Uri to Britain where he became an overnight sensation after another appearance on television. He had finally reached rock-star status as a psychic. There would be groups of girls following him around or at venues where he appeared – he was like the Beatles of the psychic world. Geller mania was sweeping the world and rockstars, world leaders and movie stars all wanted to meet him. At a party hosted by Elton John, Uri finally met John Lennon and knew he had made it to New York’s A-list. In 1979 he ended up marrying Shipi’s sister Hanna and together they have two children. Incidentally, his friend Michael Jackson was best man when Geller and Hanna renewed their wedding vows in 2001. Fame also has its downside, as he was about to learn. Uri was in such demand that the stress and anxiety manifested itself in an eating disorder and he ended up with bulimia. It became incredibly serious and Uri became an expert at hiding it from his family. He told me about going to restaurants and eating every dessert on the menu then going back to his limo and vomiting it all up. It got to the point where he became so used to putting his fingers down his throat that he had to use other things to make him vomit, such as a toothbrush. Uri was killing himself, and it was John Lennon who told Uri to get away and get help. On the advice of Lennon and Yoko Ono, Uri sold up everything and took his family to Japan looking for spirituality. He stayed there for a year to recover. It is here that Uri tells me he found himself, and was able to recover from this deadly disorder. Uri and his family eventually settled in London, where he found a much more lucrative business than bending spoons for audiences. He started working for huge global mining companies. It is interesting to hear Uri talk about this type of dowsing. When I asked him how he does it, he told me he really doesn’t know. He says if you want to believe he has a certain power or energy then believe that, but who knows, maybe he is just very lucky. He said he was just intuitively correct and perhaps everybody has this type of talent in them, but he was lucky enough to be given the chance to do it. By the 1980s, Uri had made a fortune dowsing for oil and precious metals and was described as "a millionaire several times over". VANISH MAGAZINE


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His career has spanned over five decades and he's as relevant today as he was when he first became famous. These quotes by famous magicians sum up part of his success story: "If... he genuinely does what he claims to by the methods he claims to use, then he is the only person in the world who can do it. If on the other hand he is a magician or a trickster or a con-man, he is also phenomenal - the best there has ever been. So, whichever way you want to look at him, we must respect him as one or the other." - David Berglas (Great Britain's leading magical entertainer, President of the Magic Circle and holder of numerous international honors - England) "You know, I like Uri Geller. He is a good guy. I think he made many things (happen) with his abilities. I think some of the things he shows are illusion. But I cannot claim for sure, that this applies to everything." David Copperfield (from a German TV interview) During our conversations the one thing that stood out for me was how charismatic Uri is. He also genuinely cares and would ask me questions about my own life and family. Whenever I talk to him it is like talking to an old friend. I believe his caring and wanting to give back plays a large part of his success. For his entire career he has given to numerous charities, and eventually started his own charity foundation. One of the innovations that he managed to help put in place with the Magen David Adom, or Red Cross in Israel, means that sick and injured children and pregnant women are not subject to checkpoint delays. When a youngster needs urgent medical treatment, it’s insane to impose hold-ups and process paperwork because the child happens to be a Muslim. He doesn’t charge a cent for his Red Cross work, and is involved with them in many different ways. He set up the Uri Geller Charitable Foundation a couple of years ago, to give him the power to give help where he saw it was most needed. “I’ve been helping charities throughout my career, and it’s one of the most rewarding aspects of show business — but it’s also one of the most frustrating. I can drum up 60

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donations, I can give my earnings to worthy causes — but I can’t always direct how it is spent.” Now with the foundation Uri is able to spread his charity to more organizations that he feels passionate about. “That’s where my foundation gives me freedom. I was able to help out with a small donation, and I didn’t have to make long-winded explanations to a bank manager or the taxman. A boy needed a hand, and I was lucky enough to be able to offer it. And believe me, I’m the winner in that deal — his mum sent me a photo of her son, beaming with happiness, and there’s no greater feeling than to know you’ve put a smile on a child’s face.” What is the key to his amazing success and longevity? Uri was extremely open in sharing this with me and has strong opinions about why he became the superstar that he is. One of the important things Uri has done throughout the years is to learn how to re-invent himself. At first he called himself a psychic, then he dropped that and became a paranormalist, and now he calls himself a mystifier. In order to stay on the top and be wanted by the media he told me you need to create new things and that is what his latest release to the magic fraternity is about – it’s his Trilogy of DVDs called “URI GELLER TRILOGY.” For the FIRST TIME ever, you will get answers and revelations about his most personal and closely held thoughts. The trilogy contains over five hours of insight, advice and incredible stories by one of the most fascinating geniuses of the last one hundred years. Uri even gives advice on what to do if things go wrong... The Uri Geller Trilogy is an unbelievable journey! Filled with mystery and controversy to get a deeper insight into Uri Geller's unique mind-bending abilities. And Uri is giving all his proceeds from the Trilogy to sick children. Uri tells me the most important part of the DVD is his lecture at FISM in 2015. He told the magicians that there are certain elements in your career where you have to change, and to recalibrate and come out with interesting ideas. In the magic world there is nothing new. In order to


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be successful you have to be original. In Uri’s case it was spoon bending that made him a world phenomenon. He was the first person to bend spoons and it changed his life. He added a few more ‘acts’ to it but he managed to turn trivial spoon bending in to world culture. It became a cultural icon. The problem with most, if not all magicians, is that there is nothing new under the sun. You can take a trick and dress it up in different clothing or a different genre but the core of the performance has been around for 500 years. The person who creates something brand new

that has never been done before will become the next phenomenon. When asked what advice he would give to magicians, Uri told me that magicians and mentalists need to get out there and brainstorm with their minds, their fantasies and imagination, and to come up with new things that no-one has ever seen before. This is a large part of the ingredient I was looking for in the interview. Beside the act and originality, there is one other aspect which is built out of three things. Uri spent a decade travelling the world with his TV show The Successor and then Phenomenon, and

there were three things he would look at, as a judge, that were more important than the act. With these three things you will make it. I asked Uri if somebody has to be born with these three elements, or if it can be taught. He believes that everyone is equal. Some people are more handsome, some are less but that doesn’t matter because charisma is your inner charm, your spirituality, your facial movements, the way you move your body. Yes it can be taught, and it is his hope in Trilogy that it contains enough material for people to absorb and use to help them succeed. He believes that if you follow these three rules plus have an act that is original, quirky, bizarre, unusual or something strange, you can be as successful as he has been. He has very strong opinions as to what goes into making a person a success, and I fully agree on all his points. He believes you also need to look at the overall package you present. This includes your attire, how you look – you need to look modern, cool and relevant. Gone are the tuxedoes and colored suits magicians wore in the past. A lot of people are stuck in what has come before and are not looking forward. They may look at a successful person and emulate them, but to be truly successful they need to be themselves and be unique. He adds to this package things such as smell. The cologne you wear is important because people remember smells. When he walks into a meadow the smell shoots him back to when he was in a kibbutz at the age of 11. It's important you not only look cool but smell good. The people you mix with and perform for will remember you by the smell and other senses. To become a true star you need to invest in yourself. If you think you have bad teeth then go out and get them fixed. The key phrase here is ‘invest in yourself.’ You have to look clean, adorable, and cool. These are things that stay with a person when you meet them. It’s all about the package a person presents to his or her audience.

“

"Uri Geller might be one of the great magicians of our century, good for him... You know I've often thought that aside from government workers magicians are the worst secret keepers on the planet. Well good for Uri Geller, he hasn't told anything yet. I have great respect for him." Eugene Burger

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If I had to sum up my time with Uri I would say Charismatic. I could see that he lives by everything he told me about his success. If there are secrets as to why he did so well, then he has revealed them. The fact he can or can’t bend metal with his mind was never my goal with this article, or even on my mind. That is up to YOU to decide and is down to your beliefs. Uri has shown us the way to finding our own paths and our own success and both Uri and I hope that at least one person reading this will take what he has said and become as famous as he has. I highly urge everybody to visit his website at urigeller.com where you can get a lot of free resources and even free e-books by Uri. The Trilogy is almost sold out but get hold of a copy if you can. It is filled with amazing material that will guide you and shed even more light onto what made him such a huge success. Armed with this information we both hope you find success in everything you do.

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Magicians and mentalists need to get out there and brainstorm with their minds, their fantasies and imagination, and to come up with new things that no-one has ever seen before!”

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PHOTOS by Ofer Amir

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FOR THE FIRST TIME EVER, YOU WILL GET ANSWERS AND REVELATIONS ABOUT HIS MOST PERSONAL AND CLOSELY HELD THOUGHTS.

A special gift for those who will act fast enough to purchase this very limited edition of DVDs.

YOU WILL RECEIVE AN ORIGINAL SIGNATURE OF URI GELLER ON THE DVD'S COVER.

RP MAGIC MJM MAGIC

MAGIC WAREHOUSE MAGIC & SUCH

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ARTICLE

ENTERTAINMENT MASTERY Sasha Crespi

HOW TO BECOME A MASTERFUL STORYTELLER (PART 1) Sasha Crespi is known as America's # 1 Performance Coach and the author of the #1 best-seller: The 33 Laws of StageCraft. Based in Europe, his private performances now include one for The Queen of England, The Duke of Edinburgh, a TEDx talk and several international TV stations. His mission is simple: Sasha has committed his life to helping transform 10 000 deserving entertainers worldwide into the very best version of their performing selves, by helping them focus on performance rather than method.

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hat do Derren Brown, David Copperfield, Eugene Burger and Michael Weber all have in common that differentiates them from most other performers?

You may think it’s their creativity, reputation, or intelligence… and although those may all be true, there is a far simpler skill that I believe ties them together and is at the root of their continued success: They are all masterful storytellers with a deep knowledge and appreciation for the theatrical arts. It literally is that simple: become a better storyteller and you’ll become a better communicator, a more engaging performer and a more effective influencer. It sounds like a cliche doesn't it: “Study theatre if you really want to become a better performer –enough with the tricks!”. Well, the problem is that few end up doing this, and that’s because often the people that perpetuate this message also don’t “live it.” But think about it: what would happen if you became a truly masterful storyteller? Would you achieve greater success? Would it better your relationship with your audience? Would you have much more fun performing, all whilst working smarter rather than harder? My good friend Maarten Bosmans often says “I’ve had enough of the darned card tricks. And enough with these new mind reading tricks, they’re all just the same! I feel like there’s something more to this.” I imagine that that relates with many of you, so here’s my answer:

“

Become a better storyteller and you'll become a better communicator, a more engaging performer and a more effective influencer ... "Study theatre if you really want to become a better performer enough with the tricks."

You’re absolutely right. There is a massive over-saturation of magic/mentalism effects. You literally have hundreds (if not thousands) of different methods to achieve what is ultimately the same effect. And I get it, to move the art forward we need to tweak and improve upon what’s come before. But in my mind, the very best way to add variety to your show (and make it more interesting for everyone involved) is to add to the performance rather than the content. And over the next twelve months, that’s exactly what we’re going to be doing here: I’m going to be sharing with you some of my best and most cherished techniques and strategies to help you become a masterful entertainer, storyteller and performer. These are all tried and tested, applicable techniques/strategies, no pipe dreams, no psychological gizmos, nothing like that. Just practical, instantly applicable value. This month, we’ll go through why stories are the most influential form of communication and what to look for in a good story. Next month, we’ll go through how to script a story for maximum impact and for the last month, we’ll be going through how to effectively share the story and how to accentuate/dramatize key moments to maximize your message. But before we get into the strategies, tips and tricks; it’s important for all of us to understand one key concept: Ideas are the currency of the XXIst century However, ideas are only as good as the actions that follow the communication of those ideas. And that makes storytelling the ultimate tool for persuasion. Why? Simply put, because stories stick in our head far more than facts (from a cognitive psychology standpoint, it’s because it’s easier to create schemas for episodic memory than for semantic memory1). And that is because good stories (and we’ll talk about what makes for a good story in just a moment) are, or at least should be, packed with strong emotions. You’ve all probably heard the (very true) cliched rule of social dynamics “People will forget what you said, people will forget what you did, but people will never forget how you made them feel.” 2 1 2

Kahneman, Daniel. Thinking, Fast and Slow. 2011. Angelou, Maya.

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Remember this: the best way to do that is to be the source of strong (preferably positive) emotions. And stories are the best way that I’ve found to do that. Further, they are also more interesting than mindless facts, far more personal than “patter” and are the very best way I’ve found to reveal character, closely followed by the implication of authority/mastery on a specific topic.3 So before we go on, understand and appreciate that you’ll never become a truly exceptional performer if you aren’t a masterful storyteller. And that’s ok, because we’re going to be working on turning you into just that over the next couple of months. Put simply, your story should either be RIF, RIT or RIH It should also be: RIF=Relevant, Interesting and Funny RIT=Relevant, Interesting and Tense RIH=Relevant, Interesting and Heartfelt

There are two common themes in what makes a story worth telling: it should be didactic and you should be passionate about it’s message. So here’s what you should always remember when choosing a story:

If your story/presentation isn't grounded in passion, you don't deserve to tell it.

It’s best to use a combination of both throughout your show. I’m a fan of a few key messages conveyed through “incredible” stories and a lot of smaller ones revealed through smaller ones, so my ratio is around 15 % conveyer and 85 % interluder.

Think about it: if this weren't a performance, would you tell this story every time you were with a new friend? If the answer is no, don't tell it: you're wasting their time. And yes, I’m all for twisting the truth in the story if it makes it more compelling (sometimes all that’s needed to elevate a story is being economical with the truth rather than adding false detail).

Here’s the formula I use when considering a new story for the show/ to introduce a piece. If you can quickly and easily break the story down into these segments, you have a winner (we’ll be talking more about this next month).

It’s simple. At it’s very core: Every story you tell should have some type of conflict in it.4That’s because conflict is engaging. But don’t get me wrong:

Situation (Create situation+add problem=conflict)

You don’t need a good story to be a masterful storyteller. Quite the opposite often times.

Or a combination of those.

(Yes, you read that correctly)

Great. Next, let’s talk about what makes for a truly exceptional story.

You can either have an incredible story, what I call conveyer stories, that you can convey as an analogy or you

3 Crespi, Sasha. “The 5 Principles of Natural Performance.” Forthcoming Fall 2017

4 Campbell, Joseph. The Hero's Journey: The World of Joseph Campbell. 1990.

“

can have a mediocre story, or what I call interluder stories, that you can interject your own personality and give meaning to.

Hook (line that will make them want to listen)

Action (what lead to the resolution) Point/lesson (verbalize the epiphany) Open loop/leading question (optional) In regards to what I meant by a “mediocre” story, here’s an example (and this is controversial, so get ready): re-watch David Copperfield’s Grandfather Aces. The piece itself is truly beautiful, but upon further reflection, it quickly becomes apparent that the story itself

If your parents gave you fire to play with when you were two, you’d be standing in fire by the time you were an adult.

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“

Every story you tell should have some type of conflict in it. That's because conflict is engaging.

is fairly mediocre (it’s rather cliche to say that your grandfather taught you your first magic trick and to dedicate it to them). However, the context, the emotion and the perceived importance that it had for Mr. Copperfield makes it truly memorable, even upon repeated viewing. Today, that is still one of Copperfield’s most famous pieces. That’s an example of a mediocre story told well. That’s an example of the power of context, and how much more

important it is than content. I’ll leave you with this formula. If you study and fully understand it, you’ll never need to purchase another trick – Ever.

Content is 1 %. Context is 99 %. Context > Content

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Next Month: I’ll be revealing to you the # 1 mistake most performers make when sharing a story, the very best way to “segment” your story, how to script for maximum effectiveness, my HSAPO concept and I’ll even be sharing with you the CORRECT way to implement swear words/strong language into your stories.


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news

Fellow magician needs our help ... If you have a story or a news related item please e-mail the editor at [email protected] We try to keep the news as current as possible and generally this is the last piece we work on prior to the magazine going live. Our wonderful, beautiful friends Michael and Melanie Giles need our help. Michael and Melanie appeared on the cover of VANISH edition FIVE. Michael has just been diagnosed with Stage 4 Pancreatic Cancer, and it has spread to his liver and possibly his spine. Not only is Michael in for the fight of his life, he and Melanie will be facing severe, mounting medical expenses. We want to be sure they always choose the BEST treatment, and never be concerned of the cost. Please help these incredible friends of ours through this terrible time by giving as much as you can to this fund. You can also give more than once! Let's show Michael and Melanie what the power of love can do for them.

CLICK HERE to go to a GO FUND ME campaign to help them out in this time of great need. You can also read more about Michael in edition FIVE and also edition SIX of VANISH MAGIC MAGAZINE. Click on the picture on the right to get your FREE copy today.

COMPETITION URI GELLER CLICK here to go in the draw to win a personalized sign copy of the latest edition by Uri Geller. This competition will close December 30th at midnight and the five lucky entrants will be notified January 1st 207.

Please donate - time is of 74

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International Magic Magazine

MICHAEL GILES INTERVIEW STREET THEATRE

THE MAJESTIC BY KYLE RAVIN ADVENTURES OF A SMALL TOWN MAGICIAN

EDINBURGH LOVE AFFAIR FRINGE FESTIVAL BY SARAH JONES

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Celebrating 54 Magical Years ... Founder’s Day Festivities – January 3, 2017

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Cheers … Prost … Salud … Santé … L’chaim … Salute … Kampai … Geonbae Join us on Founder’s Day for a signature NPH Old Fashioned, as we ceremoniously tap the AMA’s 2017, small-batch, oak barrel-aged, fresh cherry-and-orange-infused Wild Turkey rye.

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QUEEN n w SROMANYo 20 years ago...

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e’re looking for something slightly different this year.” says the perfectly coiffured blond with sharp highlights. She’s run her event company efficiently for years and knows exactly what she wants. Corporate business is booming in London and the grand Christmas office party is very much alive. Her company has built a huge marquee on a disused carpark near Liverpool Street, next to the big banks. They host luxury parties for a thousand office revel-lers each night leading up to Christmas, complete with dodgems, casino and Abba tribute band. “We’ve had lot of magicians in the past doing card tricks, now we’re looking for something different. Our theme this year is Winter Wonderland.” My father often warned me. “Think before you open your mouth.” I should have lis-tened. Instead, I hear only the words ‘winter wonderland’ and ‘different’; my brain fires into over-excited response mode. “I can be a Snow Queen!”

Romany is a comic, stage magician performing in theatres around the UK, on cruise lines and as Mistress of Ceremonies for variety shows and corporate events. Winner of the Las Vegas World Magic Seminar Golden Lion and The Magic Circle Stage Magician of the Year. She also performs for 25 people at a time in her private Sequin Theatre.

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The organiser raises her perfect eyebrows but nods encouragingly. “I’ll make balls of fire appear from my hands, Pow! “ I mime the action, eager and animated. “I’ll turn flames into cascades of golden streamers. I’ll conjure a blue silk streamer out of the air, waft it over the heads of the guests, then Poof! all I’ll have left in my hands is a tiny bluebird with white tail feathers. I’ll squeeze ice-cubes and they’ll become sparkling crystals. I’m dressed in a beautiful gown of ice-blue silk, sewn all over with diamonds and I’m wearing a gleaming silver crown hung with real quartz crystal!” How could they refuse? Much better than a boring old magician in a smelly tuxedo. “Thank you. We’ll discuss it at our planning meeting next Tuesday and let you know.” That was May. I didn’t hear anything back and assumed they’d forgotten. In late Oc-tober, I got a call. “We’d like the Snow Queen please. You’ll be doing twenty-three nights starting December the first” Oh bloody hell. So far, I can make a Heinz ketchup bottle vanish, turn three pieces of rope into one long one and do a couple of coin tricks. Balls of fire? Ice-cubes into crystals? Glorious gown with diamonds and crystal crown? These days, I’ve learnt my lesson from those early years. I won’t promise you an act I can’t do no matter how far in advance you book or how much you pay. The scars of that last time are burnt deep upon my soul.

Daunted but optimistic, I set to work. I’ve got two whole months, surely that must be enough? A friend recommends another friend who has just finished a fashion degree, I commission her to make the gown. I find a metal worker to make a crown. I order ambitious promises from the magic shop; fireballs from hands, gold mylar streamers and blue silks. I buy a job lot of ice-cube shaped crystals and a blue sequinned bird. The fashion graduate takes my measurements and the metres of ice-blue silk shot through with silver thread. I give the metal worker a hefty deposit to buy materials; every-thing is set in motion. I spend my day trying to create the magic I’ve promised the event company. The task is impossible but I don’t know that yet. I meet with my costume maker once, twice. three times. Each time, she assures me that everything is in hand but I only see the very basic shaping of a gown. The deadline is mid November, two weeks before my first night; two weeks I need to design and make the pockets for the fireballs and ice cubes. We’re living in a bedsit in a family house; I enrol Carol, Jerome and the kids to help. Their job is to re-roll the gold and silver mylar streamers so that I can practise throwing them over and over. They watch TV, absent-mindedly winding golden spools; heaps of gold and silver by their feet, gleaming in the blue glow of the screen. Two weeks before my opening night, I drive over to collect the

gown. My costume maker opens the door, her face red and blotchy. Inside, I see piles of cut ice-blue silk covering the floor. “I couldn’t do it.” She sobs. “I’m sorry but I couldn’t do it.” I feel panic opening in my chest. Outwardly composed, I say, “It’s alright, don’t wor-ry.” I give her shoulders a rub, half my brain congratulating the other half on keeping so calm. Gathering up armfuls of useless remnants of blue silk, I leave. Outside, the air drains from the world and I can’t breathe. My contract starts in two weeks and like Cinderella, I’ve nothing to wear and no magical powers. I appear to be having an asthma attack. From the dark alley by my car, I call the metal worker. I gasp between dry sobs, “Is the crown ready?” “Yup, come round.” In his industrial workshop, crowded with tools and metal shav-ings, the crown sits on a stand, a beautiful tangle of twisted metal at least a foot tall, polished steel dripping with shining lead crystal. At least something is ready. Back home, I don't know what to do; my first magic contract is teetering on the edge of disaster. I don’t know how to pull it back. At times like these, it’s handy to believe in real magic. I kneel at my altar, light some candles and ask the angels for help. Then I get to work. I have no dress-making skills but our entire winter earnings are at

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stake. That next week, I buy new fabric and sew late into the early hours. I follow my intuition, performing each small action, despite the constant feeling of panic. In our cramped bed-sit, Martin sleeps soundly, his head a couple of feet from the whirring sewing machine. Out of nothing, a snow queen gown takes shape. An ice-blue crinoline skirt with se-cret pockets and corset glittering with Swarovski crystals. Flying against time, I use a glue gun a lot; my fingers are blistered with hot glue burns. I am the princess dancing through the night in the moonlit faery ring. Work is abandoned on the magic I’ve promised; the costume takes priority and in any case, everything is far beyond my ability anyway. A week before the first night, by some magic, the gown is ready. I have a walk-about gig in Bluewater shopping centre and use it as a dress rehearsal. I glide through the pseudo marble halls in my ice-blue gown but within five minutes of wearing my crystal crown, my neck goes into spasm; it’s far too heavy to wear for more than minutes at a time. Even without the crown, I think I’m a natural as the snow queen. Entertainers are for-bidden to enter the shops but since I’ve never been one for obeying rules, I wander into Marks & Spencer. “Do you think this is me?” I demand in my best snow queen voice, holding up an ice-blue cashmere jumper. “Come on Miss,” a gruff voice at my elbow says, “out with you now.” Marks & Spencer have called security and I am escorted from the premises. On my first night as snow queen, I swish through my tipsy corporate subjects in my winter wonderland with flamboyant bravado. Abandoning the too heavy crystal crown, I’ve made another out of a Weetabix box, white fur and a metal coat hanger. “I thought you were going to make fireballs turn to showers of gold confetti and turn ice-cubes into crystals.” The organiser remarks coldly at the bar while I take a break. “Wasn’t allowed.” I reply, equally cool. “Fire regulations.” Phew.

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https://www.youtube.com/ watch?v=mf8Khradhhk

She talks about challenges facing women in magic on Sky News https://www.youtube.com/ watch?v=6fcToWbUQ7k&t=2s

BACHSTAGE WITH CHARLE BACH

IMMERSIVE

MAGIC VR IN

OF

https://youtu.be/cML814JD09g

THE VOID

“IN MAGIC YOU'RE TRYING TO PROVE TO SOMEONE THAT SOMETHING TOTALLY IMPOSSIBLE IS REAL. IN VR WE'RE TRYING TO PROVE THAT SOMETHING TOTALLY MUNDANE IS REAL.”

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s a magician and creator of magic, one of my favorite things about seeing the growth of technology is seeing how other magicians, performers and illusion designers have adapted it to use with magic. Technology has allowed impossible mentalism effects, amazing visual illusion principles, and even closeup miracles to exist that were not possible a couple decades ago. I’m very excited to write about the reverse happening with The Void, a virtual reality immersive experience. The interactive attraction uses magic principles to enhance the illusion of the VR technology by combining physical real-time effects with virtual reality.

LEFT: Curtis Hickman magician and co-creator of THE VOID.

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It is a very new form of the Art of Illusion that you can live in for 30 minutes for 35 bucks. I’ve been writing in the past few articles about the use of magic in immersive art and entertainment. This attraction is an excellent example of how magic has helped to make the VR illusion more real and even how magic helped to solve some real world problems with limited space.

Touch inside The VOID.

The Void has been a hit already and their technology has already been applied to a Ghostbusters Dimension attraction in Times Square, New York. And soon, they will be opening The Void in Shanghai, China and have plans to expand to entertainment centers elsewhere.

virtual reality and was disappointed by the fact that it was just a visual experience. He wanted to reach out, touch and interact with the environment. And, he thought, using magic, misdirection, stagecraft, and illusion principles would be the best way to make that possible.

The VOID stands for “Visions Of Infinite Dimensions” and it is a fully immersive 5D experience that uses multiple methods to bring you into a virtual world. The use of touch, smell, sound, sight are all combined to make the realm as real as possible.

The key to making it work is misdirection. Physical misdirection and psychological misdirection both play a part in hiding the method. In a magic trick, seeing the method would mean exposing how the trick is done. In this VR world, seeing the method would take you out of the experience and ruin the illusion of complete immersion.

Magician and magic creator, Curtis Hickman, co-created The Void and brought his magic knowledge into its development. He is a co-founder and chief creative officer for the company and he has created magic used by David Copperfield and Criss Angel. Curtis had an early introduction to

The physical misdirection is accomplished through the gear that is worn. You have a vest and gloves with haptic motors that allow you to feel an explosion or shot. The headset has a 180-degree field of view with VANISH MAGAZINE

curved OLED screens. Special gloves also contain small haptics for users to touch or interact with virtual objects. They take the virtual world and enhance it with reality through the use of fans that blow wind, real heat coming from virtual fires, bladders that move the floor, smells, strings to simulate cobwebs and many other haunted house-style effects. These subtleties help make the illusion even more believable. The physical world of the attraction combines with the VR as well. If you see a wall, you are able to reach out and feel it. If you see a chair, you can sit in it. This presented a major challenge to creating an environment with unlimited choices for the participant. To really have unlimited choices would make the whole experience fill an entire convention center. Not a cost-feasible option.


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ARNOLD'S APARTMENT

https://youtu.be/Ebwtq1HZJ2A

Curtis Hickman THE VOID- Creating The Illusion of Reality

Using more physical misdirection, Curtis discovered a way to create an unlimited environment in a 30 by 30 foot space. Using a principle called re-directed walking where the viewer is seeing a long hallway, but is actually being directed in a circle. They will still feel and believe they are walking in a straight line because of the visuals in the VR gear, but the reality is they are 82

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curving around the limited space. The misdirection principles are explained visually by Curtis in a video talk above.


The psychological challenge with VR is to train the audience to believe that simple objects in the virtual world are physically there. This is done methodically. First you see a chair, the natural instinct is to think that it’s not real. But, you are able to reach out, touch it, and sit on it and your mind begins to believe in the illusion. Then

RAPTURE HMD

there’s a torch on the wall and you can reach out, grab it, and light it in a fire and feel the heat and your suspension of disbelief becomes more possible. Finally, an elevator takes you up and you feel the floor beneath you rising. Now, you are ready for submersion. Another layer of psychological misdirection happens when you enter

the room where you “suit-up” and put on the necessary VR gear. The room is designed to look exactly the same as the room you see when you put on the VR headset and enter the virtual world. Matching the real world and virtual world helps blur the boundary between them right from the start so you accept the new VR environment naturally. The illusion becomes more believable because of this psychological deception.

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All this psychological conditioning sets the viewer up to believe that normal things in the VR world are real so they can then believe that impossible things in the VR world are real as well. Now that’s magic! I got the chance to ask Curtis Hickman some questions about The Void.


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VOID VEC CONCEPT

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How might a normal viewer (not a magician) describe the experience of The Void? How might the experience differ for a magician?

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“Since most people haven’t experienced VR before, they have a difficult time explaining what they’ve just experienced.”

“There's a big disconnect with those types of entertainment. While some are pretty good at immersing you, you can't affect the environment and touch the world. At THE VOID, you can. The effects are there to support the environment.”

VIDEO LINK YOUTUBE

3 “A magician would be a little more cognizant of the illusions, especially those who understand magic theory, and will understand some of the workings behind what we're doing.”

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4D rides with moving seats, 3D films, and environmental effects have been around for a while. Who or what influenced you to head in this direction to create a “magical” experience like this one? What makes The Void experience different?

What influence has your knowledge of magic played in this creation that would not be possible without having a team member with a magic background? “In magic you're trying to prove to someone that something totally impossible is real. In VR we're trying to prove that something totally mundane is real. We use magic principles to trick people into thinking that the normal is possible. None of that would be possible without a professional magician.”

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How do traditional magic methods play a role in creating The Void entertainment experience?

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“In magic there are only 3 ways to make an object disappear. In THE VOID we need to make the real world disappear so that people within the experience forget that they were just waiting in line to get in, or that their friends are waiting to go through next."

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“Yes, that's very apt actually. It's a common piece of advice that magicians always give. We do this inside THE VOID too, by having the person touch a wall, sit in a chair, or grab a torch at the very beginning of the experience so they’ll trust the environment.”

Are there any illusion principles of concealment, perspective, black art, retention, or decoy being used in The Void? “We have perfect control over what you see and hear, which is like black art. While we use illusions of perspective, a lot of the tasks are done in the visuals. Decoy is interesting because we're testing that one by duplicating avatars and scenes.”

Of all the standard effects used in magic, have you used any as part of your experience? “The goal isn't to create a magic show, it's an accumulation of effects, technology and magic theory to create unforgettable experiences.”

It looks like The Void hyperreality may induce a strong personal reaction for the spectator (I used that word to define the user in a term that magicians use). It seems to have a similar impact to magic performed in the hands of spectator, a personal prediction being revealed or even a watch vanishing from a person’s wrist. Is that a conceivable comparison?

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How would you relate The Void experience or even the new Ghostbusters experience to a typical magic show? Are there similar elements to a live stage performance or even the feeling of wonder that a magic show provides? “You're the volunteer every time, and the magic will change depending on the decisions that you make. You're not a spectator, you're part of the magic.”

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Curtis and his team have really touched on something that is very new in entertainment and all the technology and challenges were solved, improved or enhanced by the use of magic principles. It’s great to see magic knowledge and theory being used outside of the traditional magic show. Creating an illusion, you first come up with the ideal effect you’d like to create. Then you come up with the most effective method. Then you add layers of subtlety and magic principles to create the best illusion possible. The Void has used multiple layers of misdirection, subtlety and effects to create the most realistic illusion of immersion into an environment that is both real and imagined as real. I hope we all get the chance to experience it personally. See more of THE VOID @ thevoid.com Charles Bach [email protected] www.charlesbach.com

What do you think the future of magic and magicians will be considering the influence of this new VR & AR frontier in entertainment technology? “Magic theory and the practice of magic can be used outside of its own sphere of influence including entertainment and VR. But I think it's important that magicians still be very protective of those theories and secrets they’ve learned, because some things can only be solved with magic, and I mean that very literally.” VANISH MAGAZINE


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DREAM SHOWSERIES

DREAM SHOW SERIES

BILL ABBOTT’S DREAM SHOW SERIES: A step by step system to help you bring your dream show into reality 86

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The Dream Show Series Objective Very few professional performers will let you into their world, and even fewer divulge the real secrets of how they developed their acts. Rather than sitting alone with your own uncertainty and questioning how to put together a great show, Bill will try to demystify the process with a step by step system to help you bring your dream show into reality. If you want to get off the easy chair and get to work on your own show, or you want to start fresh and create a new show the Dream Show Series will motivate you to go from "dream show" to "real show”. Let’s begin.

“

The best way to make your dreams come true is to wake up.” Muhammed Ali

The Magic That Reflects You In the last issue we concluded by asking, ‘What type of magic best reflects who you are as a performer?’ This is a combination of very personal reflection on what you know about yourself and your onstage persona. It’s important to get an outside assessment of who you are by individuals you trust. This will help to create a well rounded picture of how you are perceived by those who know you best and give you chance to know which parts of your natural personality and character could/should be emphasized on stage. Active Solution Homework pt.1: To assess what others see in you, it’s best to engage five close friends and/ or family members you can trust and ask them to list qualities and traits that they like about you. Your job is to create a new and different show that no one else has ever done and fits you like a well tailored suit. Contact five close friends and/or family members and ask them to send you a list of three qualities or traits that they like most about you. Be sure to tell them you want their honest reactions and responses. Collect the lists and compare them. The similar traits expressed by different individuals are where your strengths, as a human being and onstage persona, lie.

Emphasize Your Strengths You instil confidence by being confident. This confidence comes in knowing who you are on stage and knowing that your material is 100% reflection of who you are. Dissect the lists made by your five friends/family members. The key strengths repeated over and over should be your focus in creating your onstage persona. A true extension of who you really are, but exaggerated. You want to push those qualities into the forefront so that strangers (your audiences) will have no doubt who you are, what you’re about and feel a connection to you. Active Solution Homework pt.2: It’s not easy to face your flaws but it’s a big part in creating a well-rounded onstage persona and will help you to choose appropriate material and to know how to present that material. Grab a pen, paper, tablet, smartphone or laptop: Make a list of your personal weaknesses. If you feel comfortable, ask a couple close friends or family members to let you know what they see as a weakness you have.

Exploit Your Weaknesses In addition to your strengths (or superpowers!) you need to address your weaknesses (or kryptonite). This will, again, take some serious self-reflection and honesty to admit and consider. Whether you’re horrible at math, can’t remember people’s names or can’t possibly keep your office neat and tidy to save your life, your weaknesses are the things that can endear and connect you to your audience because you’re human - just like them!

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WHO IS BILL ABBOTT? Bill is an internationally acclaimed entertainer with 25 years experience and over 5000 performances in 11 countries. Bill Abbott has authored 9 books and 40 online articles, in addition to 49 products created exclusively for professional performers. Over the past 10 years Bill has developed an incredibly successful and critically acclaimed instructional performance arts based production company Bill Abbott Magic. BAM (Bill Abbott Magic) is an internationally recognized production company that equips and instructs thousands of professional performers around the globe. BAM is an online presence that offers original magic effects, illusions and complete pro packages that Bill has created and developed for professional magicians. www.billabbottmagic.com

Active Solution Homework pt.3: Once again grab a pen, paper, tablet, smartphone or laptop and answer these questions: If you were a character in a Hollywood blockbuster what role would the casting director cast you in? If you were to be typecast in a particular type of role over and over again in TV or movie roles, what would that look like? List your five favourite movies and imagine the character you would play in those movies. List those characters most obvious physical traits. List those characters most obvious personality traits. Typecast Yourself Be honest and realistic about who you are. What sets you apart in a crowd? If a stranger were to describe you by looking at you, what would they say? What physical traits would be emphasized in that description of you?

People in the theatre/films/TV are typecast. We can’t all be James Bond and we aren’t all destined to be Austin Powers either. Maybe you’re a villain. Perhaps a loveable uncle. It’s possible your creepy and strange. Your character strengths and weaknesses combined with your physical appearance make up who you are and what role you should (or could) play. If you have any comments, suggestions or questions about the Dream Show Series please connect with Bill at [email protected]

THEATRE SKILLS

FOR MAGICIANS Magic Under the Influence BEN WHITING

I

don’t know about you, but when I decide to add a routine to my repertoire there’s a process. First, I learn as much as I can about the effect from books, DVDs, and magicians I trust. Then I research all the various versions of the effect on the market and purchase the ones that seem to be the best. I make sure to send them to my Ben Whiting Productions PO Box so my wife doesn’t see the arrival of more magic boxes from the postman. From here I pick out my favorite gimmicks, techniques, choreography, subtleties, and patter from various routines, and combine/outline them all together on paper to create … something. The goal is that this “something” resembles an original presentation for an amazing routine to go in a show someone would pay money to see. However, more often than not it’s something you’d expect to see at an open-mic night performed by a drunk 8th grader. Nonetheless, when this mishmash is assembled on paper, I get off my butt and perform it in front of a video camera. Then comes the really hard part; I watch the video (whisky helps with this). After a few moments of seriously questioning my life choices and mulling over a career change, I buckle down and begin to rework the routine. Then I film it again. I go through this process a few times, and then the real work begins. Now I sit down with the latest footage, grab a yellow legal pad (and probably another whisky), turn on the video and I ask, “How would Bruce Springsteen do this?”

I recently read an article by a music critic in the Washington Post who was discussing why he continues to go to Bruce Springsteen concerts every chance he gets. He said, “… the reason I keep going back is simple: redemption, the unapologetic embrace of the need for it and the possibility of it.” I’ve never heard anyone say they keep going to magic shows because they offer the hope of redemption, but can you imagine what that show would be like? It’s a question that inspires and haunts me on a daily basis. Is it a corny ideal? Probably. Is it ambitious? Absolutely. But it’s what I aspire to in my work. Of course, that’s just how Springsteen inspires me. Don’t even get me started on Ann Patchett,

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Stephen Colbert, Daniel Day Lewis, or any one of a number of obscure heroes I’ve met in the theatre industry such as Matt Gutschick or Kit McKay. So how would Bruce Springsteen link three finger rings together? If Ann Patchett were performing a book test, which books would she choose and why? What would she tell the audience about them? How would Picasso perform a Phantom Artist routine, or Steve Martin the cups and balls? These are questions I love.

I’ve seen hundreds of magicians perform Sam the Bellhop move for move and line for line just like Bill Malone. I was one of those magicians for a long time. Of course, no one except Bill Malone can perform that routine as well as Bill Malone can. However, has anyone ever tried to perform Sam the Bellhop with the narration of Christopher Walken and the gestures of Robert De Niro? Has anyone ever rewritten the story in the words of Shakespeare or Groucho Marx? Granted, I don’t think if these would be a particularly effective combinations, but I think the importance of thinking this way can’t be overstated. When you perform a routine in hopes of being as good as someone else, you create your own ceiling that you’ll never be able to break through. It’s much better to create rungs on your own ladder so you can climb as high as you like. That being said a lot more can be influenced than just your performances. If you’re a full-time magician you understand that performing is actually a very small part of what you do. You have to generate and convert leads, build and maintain a website, follow-up with clients for testimonials and repeat bookings, market yourself in all the various mediums, etc. The sheer number of creative and mundane tasks can become overwhelming. Here’s some advice from Ann Patchett’s phenomenal essay on writing, The Getaway Car: A Practical Memoir About Writing and Life: Novel writing, I soon discovered, is like channel swimming: a slow and steady stroke over a long distance in a cold, dark sea. If I thought too much about how far I’d come or the distance I still had to cover, I’d sink. As it turns out, I have had this same crisis in every novel I have written since: I am sure my idea is horrible and that a NEW idea I’ve just had is my only hope. But what I’ve realized over the years is that every new idea eventually becomes the old idea. I made a pledge that I wouldn’t start the sexy new novel I imagined until I had finished the tired old warhorse I was dragging myself through at present. Keeping that pledge has always served me well. The part of my brain that makes art and the part that

“If you are a full-time magician you understand that performing is actually a very small part of what you do.”

judges that art had to be separated. While I was writing, I was not allowed to judge. That was the law. How could you apply this advice to your magic? To your business? To your life? After applying it to all three I can tell you I’ve found it to be very good advice. All too often when you ask a magician/mentalist who their biggest influences are they’re quick to name 3 or 4 magicians or mentalists. I think that’s great and important. Some of the biggest influences in my career are obviously magicians and mentalists. However, I feel all too often we undervalue finding inspiration and influence from people outside our industry, and having heroes who don’t own a deck of cards (though Steve Martin did in fact get his start working in a magic shop). Not to mention it’s always good to be able to talk about something other than magic when you’re out with friends or on a date. VANISH MAGAZINE

ABOUT

BEN

Ben Whiting is an award winning actor, magician, and playwright who lives in Traverse City, Michigan with his beautiful wife and very good dog. He makes his living as a professional speaker and corporate entertainer throughout the US. In his spare time he enjoys raindrops on roses and whiskers on kittens, bright copper kettles and warm woolen mittens, brown paper packages tied up with string, whiskey and Bruce Springsteen. To learn more visit benwhiting.com


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So who are your heroes outside of magic? What is it about them that truly connects with your core and makes your heart sing? How do they connect with the world? What are their motives and ambitions? How do they apply themselves to what they do? If he/she chose to be a magician with the full force of their life how would they go about it? Now, how can you bring all this home to what you do in your business and your performances? These are questions I feel we should all ask and answer for ourselves. If we do, it’s my humble opinion, magic will be all the better for it. So what if you don’t have a hero outside the world of magic? That’s okay. I asked a few people I look up to and they were all more than happy to give some suggestions to look into.

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ERIC MEAD To pick one of my many many heroes, I'll go with Richard Feynman. Nobel prize winning theoretical physicist and all around amazing man. Even in the heaviest intellectual company he was the smartest guy in the room, but managed to keep a sense of humility and good humor about himself. One of the many things I've taken from Feynman's example is to try to maintain a deep and insatiable sense of curiosity and wonder at the world around us. He never stopped asking questions, investigating new ideas, and seeking answers. An engaging storyteller with an innate flair for dramatics, he could ignite in others his love of ideas, and was an inspiration to a whole generation of scientists and thinkers.

ERIC JONES My greatest influence is a person who embodies the resilience of the human spirit, creativity and raw talent. Stevland "Stevie" Wonder is a living legend who despite having lost his sight, went on to become one of the most influential musical voices of the 20th century. and thinkers.

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DAVID HIRA

Zig Ziglar changed my life. His 12 cassette tape audio seminar retrained my thinking. Instead of trying to “get” from everyone, I learned from Zig that you really can have everything in life if you’ll just help enough other people get what THEY want.

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BOB KOHLER

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SCOTT ALEXANDER

I very much look up to Steve Martin as a role model and inspiration. Even though he was into magic and still is to a certain degree. His fame came from the world of comedy and motion pictures. He is an avid art collector and prolific writer, director and producer. Aside from aspiring to be half the renaissance man Steve is, I really admire him because Martin does something I always strive to do and that is to be "in the moment." While on stage doing comedy, he was so confident in his material, that he could be free to play. That is, he was completely present and his stream of consciousness came not only from his rehearsed shtick, but from his ability to improv and feed off the audience. Plus even though his comedy was completely off the wall, it had a certain innocence and authenticity.

Right now my biggest hero is guitarist Tommy Emmanuel. In my estimation he’s the most wonderful acoustic guitar player to ever live. There are not many people who can walk onto a stage and hold an audience completely spellbound for two hours with nothing but an acoustic guitar. He’ll play his own material as well as covers, but what makes him truly JON ALLEN wonderful is his personality and his charisma. Magicians think their performance is all about the tricks, but Tommy helps Victor Borge! He was a pianist, conducremind you it’s all about your personality. tor and comedian. He straddled classiThe tricks should just be icing on your cal music and comedy in a way nobody cake. else has done, showing that rules can be broken in terms of the way things are presented. His humor was intelligent and also, at times, very subtle.


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TEN LITTLE SECRETS John Carney wrote “There’s not one great secret ... there’s a great many little ones” in his fabulous book Carneycopia, while talking about the many people who approached Dai Vernon hoping for the “One Great Secret” to help their magic. And it’s just as true in creating success in your magic career as it is in creating success in your magic performance. Here are ten little secrets...

Magic Accountability Buddy "Hey Buddy ... can you share some time" Do you need a Career Coach, Mastermind Group or Accountability Buddy?

The Why

Having a personal business coach for your entertainment business is a great investment, but it can seem expensive for some and they are often hard to find. An alternative and cheaper option is the Mastermind group, but these are also sometimes tricky to organise and participate in.

In the very simplest of terms having a 'Magic Accountability Buddy' will accelerate your magic business growth. I guarantee it. It will keep you focused on the commitments you make. Ticking off the little steps to knock off the big goals, all in the time frame you set yourself! You are putting Peer Pressure to work.

TIMOTHY HYDE

A third option is to get an Accountability Buddy! Skype, Facebook messaging etc has made it easy to catch up with a Buddy on a regular basis and they are becoming more and more popular. A weekly 15 -30 minutes can do wonders for your magic business, keeping both of you focused and excited. I've tried all three of these options over the years and each has taken me to a new level in my business.

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You will also grow by helping your buddy. Often, seeing the gaps, the possibilities and the sticking points in others will help you reflect on your own. You often read in forums and hear in discussions "I'm not very good at selling myself, but I can really sell others!" Yep, it's a very common self limiting belief. Helping your "AB" move through their options, possibilities and

challenges will also let you think and act on those of your own your own. Plus of course, they will also be directly helping you keep on track.

The One Big Thing for the Week The Book Club Approach. Work through a book together. Booked Solid, The 12 Week Year or Zen to Done would give you months of great productive shared activity.

The Who The internet, email, Skype, Facebook Messenger, Texting etc has multiplied the number of people who could become your "AB." While Face to Face is excellent, cast your net wide. I always suggest start by looking at your FaceBook friends. We tend to gravitate to people sharing the same hopes, dreams and ambitions even if we don't know them very well. And they could live anywhere! And forget the "oh they could be my competition" thinking! And, if you think it's a good idea, there's no point in just sitting around waiting for someone to ask you. Take the initiative. But also don't limit yourself to people in your specific market niche or even industry. In my past MasterMind groups I've had lawyers, criminologists, building developers and entrepreneurs all giving me fascinating and valuable support.

The How Here are some important tips if you've never done this before. Firstly, agree on a framework and guidelines. Catch Up on a set/regular basis. It's nice to chat to your magic friends and find out what they have been doing, but the power of the AB system comes from more than that. Weekly is great and if you are serious, you can add a mid week progress check. Set a time limit to the sessions. We all lead busy lives. After the initial couple of sessions, keep them tight. Start with a trial period. This is not a marriage, you are not committing for life. Agree on a set period and then assess if you want to go on. It may take a while to find the right AB and the right set of guidelines. Agree on Confidentiality. Both keep Journals & Notes. This is a two sided thing. You are both working on each other.

The What Here are some thought starters on what to discuss. Goals, Progress and Check-ins. "Do What? By When? Perceived Obstacles?" Chunking. Breaking up the Big Goals into the smaller steps.

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If you need more ideas, a Google search will be very rewarding. If you would like to find a Magic Accountability Buddy, visit our MagicCoach Facebook group where we keep an informal list of interested people.

Who is Timothy Hyde Timothy Hyde has been a full time performer since 1977 and is widely acknowledged as one of Australia's busiest and most successful magicians. A wide ranging career has taken him through street performance, comedy clubs, theme parks, trade shows and casino seasons. He now works almost exclusively in the corporate sector, both speaking and entertaining, with an occasional cruise ship assignment. His online MagicCoach project, running since 1999, including a free newsletter, manuscripts and unique products can be found here http://www.MagicCoach.com

THE CONCEPT: • Hand the spectator a small locked box to examine and hide away from sight. • Perform a favorite magic or mentalism effect. • Have the spectator retrieve the box, which is placed immediately on the table where it remains in full view while THE SPECTATOR UNLOCKS THE BOX THEMSELF AND REMOVES THE PREDICTION, SIGNED CARD OR OBJECT.

FEATURES: • Small enough to fit in jacket or hip pocket. • Fully examinable before, during and after routine. • Inset Brass lock with key. • Gets spectators involved. • Almost no angle issues - perform surrounded. • Versatility - works with anything that fits inside. • Loads instantly while in full view. • Looks nice but ordinary - built to last!

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Wonder Box

WONDER BOX is a drawing card case that you've never seen before.

Not only just the deck case's color change, but you can perform the transformation from a deck case to other items such as coins, ropes and so on. The limitation is only your imagination. WONDER BOX is made from high quality wood and printed with a golden crown on the top. This is perfect for card magicians.

Wonder Block The Box with Japanese Ancestral Wisdom shows an Impossible Penetration! Guess how many people can open this amazing box? You will see how difficult it is to figure out the answer if you try with your hands. Wonder Block is assembled especially for coin magic with the Japanese traditional interlocking wooden building blocks method. Wonder Block has a hole on the top with a small space inside. Small enough that you will not be able to put a quarter in the hole. Yet, a magician does it easily! The Wonder Block is an impossible penetration!

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A ONE-MAN SHOW

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Putting together a one-man 90 show in a theatre venue is no easy task. I would imagine it is the dream of many magicians yet few are able to follow through properly with it. One magician who is about to start his run with his own show called, “The Rosenkranz Mysteries” is Ricardo Rosenkranz, with a show that starts on December 1st and runs through until December 24th at the Royal George Theatre’s Cabaret Space, 1641 North Halsted Street in Chicago.

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very illusion has been researched, evaluated, and workshopped with the most respected magicians in our business including Eugene Burger (Chief Architect of Magic for the production), Jeff McBridge (Chief Magic Consultant), Ross Johnson and Johnny Thompson (Magic Consultants), and Jan Rose and Jordan Wright (Magic Assistants). The Rosenkranz Mysteries stars Ricardo Rosenkranz as “The Doctor Magician”, Jan Rose as “The Hostess” and Balsamo as himself. The show is directed by Northwestern graduate Jessica Fisch (Fefu and Her Friends at the Goodman Theatre/Rivendell Latina/o Celebration), and is produced by Opus Magica Music, LLC and Ricardo Rosenkranz. The artistic team includes script by Eugene Burger, Jessica Fisch and Ricardo Rosenkranz, Set Design by Chip Von Weise, Sets by Ravenswood Studio, Lighting Design by Jennifer Kules, Prop Design and Construction by John Gaughan, and Musical Direction by Craig Terry (Lyric Opera of Chicago). I was able to sit down with Ricardo between rehearsals and get some inside information on a show that he has been working on for over five years. Ricardo’s background in to magic is quite different than most. Originally from Mexico he developed an interest in magic later in life while visiting a magic shop that time forgot, as he explains it. The magician in the shop used to perform at Ricardo’s home when he was a child and the store was filled with old wooden props. Over time Ricardo realized there was more to magic than props and soon was introduced to Eugene Burger who lives a few blocks away from him in Chicago. Ricardo’s background is medicine and he is an extremely respected doctor and is the Assistant Professor of Clinical Paediatrics at

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Northwestern University’s Feinberg School of Medicine. He is also is the founder and CEO of Inovamed, S.A. de C.V., a leader in the innovative delivery of patient-centered health care in Mexico. In conjunction with the Medical Humanities and Bioethics Program, Dr. Rosenkranz created the nation’s first medical school curriculum for the study of magic and medicine. Created for first and second year medical students, these courses explore the performance aspects of medicine and the anthropological relationship between medicine and the magical arts. The principal aim is to help medical students develop a more sophisticated and deeper understanding of the doctor-patient relationship. The success of his Magic and Medicine courses has spilled over to graduate medical education where Dr. Rosenkranz has taught similar courses at Stanford University and Cornell. The course and Dr. Rosenkranz have also been featured in the Chicago Tribune. The desire to perform his own one-man show came about several years ago after an incredible experience watching Derren Brown perform live in London. The seed was planted for Ricardo to put together his own one-man show, not to that scale but perhaps a parlour show in a hotel somewhere in Chicago. He spoke to his friend and mentor Eugene Burger and together they started planning the possibility of an actual show. The first thing Ricardo did was to set up some rules for his show. The first rule was that he didn’t want any effect to be a stock trick, and every routine needed to be relatable to what he was doing. It was Jeff McBride who suggested the name of the show and it was after learning Jeff’s Water Bowls Routine that Ricardo realized it wasn’t going to be a parlour show anymore but a theatre show. Working with top people meant not just direction but also having props

There is something beautiful and wonderful about the unknown, and I think in that sense, magic and medicine share a DNA,” said Rosenkranz. “I am committed to creating a unique experience that energizes and uplifts every audience.”

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Ricardo with friend and mentor Eugene Burger

A view outside the theatre of the poster

that were built by the best and so he contacted John Gaughan who has built three unique pieces in the show. The other rule Ricardo made was that he didn’t want to draw a distinction between mentalism and magic. To him illusion is important whether it be illusion of the mind or physical illusion. With this in mind the show started to come together organically. Eugene helped write the scripts and one important piece of advice Ricardo shared was to make sure you have a coherent script, and if you aren’t a script writer hire somebody who is. The script will no doubt change but it does give you direction and is something he strongly encourages working with. After spending time working on the numbers in the show the next challenge, and one of the biggest, was finding the right venue. After a lot of searching they found The Royal

George, which had four performance spaces. He also made the decision that he wanted a lay director. He has Eugene, Jeff McBride and Ross Johnson helping him with the magic aspect of things but having a good lay director is extremely important. An important point when booking a venue is knowing when is a good time for people to go to a theatre, especially in Chicago. With no real date set they hired the space they felt was good just to get the feel for it and to work the show with the director for a week. It was an intense week and the venue felt perfect. After the week of rehearsal they still couldn’t book the venue because all the dates were taken so Ricardo found himself with a show, a director and a script but no set venue. As fate would have it, on October of 2016 the theatre phoned to say that a musical which was to play VANISH MAGAZINE

in that space in December had just cancelled and it was now available. From then everything went in to high gear. Unfortunately the only person not available was Ricardo’s director as he had taken another show during that month but he did however recommend another director by the name of Jessica Fisch, who thankfully turned out to totally understand the feel of the show. After the first table read she changed the show completely by changing the order and took it in the direction that it needed to go. An interesting comment Ricardo made was that he wanted to do a magic show, and the first director wanted him to do a play with magic. The next step was finding a set-designer who could work on short notice, which they did, and finding the right assistant. Nothing is more important than having the right team behind you. He has a very honest www.VanishMagazine.com

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relationship with his team and they openly share their thoughts on the show. The program of the show became more about Ricardo’s story and combining it with medicine where he doesn’t have to play a character but rather play himself.

$5000-$8000 a week. It’s not about cab signs or signs on buses but much more targeted and specific. This is BEFORE the production and you have to be careful because some people will sell you crap. Again it’s about surrounding yourself with the right people.

Because of the venue they were able to put 68 tables and 90 regular seats giving it a very intimate feel where you felt like you are invited in to Ricardo’s study where he shares his mysteries with you.

The entire process has taken at least five years from the initial concept until the first show in December. Ricardo kept emphasizing the importance of having both a magical director and a lay director. The theatre aspect of any show is extremely important and in this case they even hired a mixologist to mix special drinks designed just for the show. When it comes to producing a one-man show preparation and planning are key elements. I believe Ricardo’s show will be a success because he has done everything right. He had everything in place and had a great team behind him. When he got the call that the space had become available he was ready. If you are in Chicago this month be sure to check out The Rozenkranz Mysteries and we know you’ll have an incredible evening of mystery and entertainment.

Rehearsals started in November and the director worked with Ricardo on an intensive re-writing of the script. Eventually Ricardo realized he needed an assistant-producer so he could concentrate on his show. This is always a challenge for anybody producing their own show. As a producer your time as a performer is taken up with what else needs to go in the business side of show business. When it comes to doing PR for a theatre show you need the right person, somebody who is not just a PR person but who completely understands how to promote a theatre show. There are different types of PR people who specialize in different areas. You can expect to spend a lot of money on hiring the right person who will get television and newspaper exposure as well as social media. In Chicago you need to start three weeks prior to the opening of the show and spend between

Pic Caption I love sesame snaps toffee. Biscuit.

POLITICALLY CORECT

PAUL OSBORNE:

DESIGNED TO INSPIRE MAGICIANS NICK LEWIN

PHOTO BY ELIZABETH LAVIN

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he magic world lost one of its most inspirational influences on October 4th with the passing of Paul Osborne. As a live performer, producer, and magical designer Paul has inspired many generations of magicians. His interest in magic began on his fifth birthday when the legendary Mark Wilson performed at his birthday party. Mark gave him one of his magic sets and set in motion a unique career in magic that touched and changed the lives of magicians around the world. After mastering his art as a magical performer, Osborne became a very successful magical producer and soon had a string of magical productions in theme parks across the country. Many of magic’s top performers got their first break in one of Paul’s productions. Osborne continued performing himself and had a distinguished career onstage and also behind the scenes. A large facet of Osborne’s prodigious talent was his skill at designing, creating and building illusions and over the years Paul’s magical creations have been featured by magicians such as David Copperfield, David Blaine, and a host of other celebrities. Osborne had the mind of an engineer and the eye of an artist, and his detailed blueprints soon took on a life of their own quite separate to the actual completed props. Like many other magicians I first discovered Paul from his series of detailed blueprints that were published in Genii magazine. They were amazing to look at even for someone like myself whose chances of constructing them was zero! Other magicians were more technically proficient than I was, and were able to transfer these blueprints

into three-dimensional props and an illusionist was created! Paul then started his highly successful business marketing detailed blueprints and entire books dedicated to enriching the work of magicians around the world. I never had the pleasure of meeting Osborne, but one of my big magical thrills was earlier this year when Paul contacted me to contribute an essay to, what was to be, his last book The Art of Rehearse. I was very proud that he would want to include my thoughts on this very important (and often under articulated) topic. However, I wanted to make our VANISH tribute more personal than I felt capable of crafting, and I was lucky enough to enlist two of my most talented friends to tell you their stories about Paul and the way he influenced them. To kick off this tribute world-class illusionist Greg Gleason was kind enough to write this piece about the influence that Paul Osborne had on his career. Greg is a frequent guest on the CW series Masters of Illusion and performs in most of their live tours. You can check out his performing schedule at his website www.gleasonmagic.com “In 1973 I saw Bill Bixby perform the Zig Zag Illusion on a television series called ‘The Magician’ and I was hooked. I wanted to be a magician, no an illusionist! A few months later I saw a picture of Paul Osborne floating a girl on a tip of a sword on the front page of our local paper, the Dallas Morning News. Now I really wanted to be an illusionist. Only one thing was stopping me at the time, I was only 11 years old! When I started junior high, I took wood shop and mechanical drawing. I would order the $5 illusion plans from

Abbott’s dreaming about performing illusions on the big stage, unfortunately I never really understood the plans well enough to build any of them. I will never forget the first issue of Genii Magazine in which a Paul Osborne illusion plan appeared; it was the Hatbox illusion and I loved it. The plans were so well done and easy to understand. When Paul published plans for the Zig Zag I immediately ordered them. They were $25, which was a lot of money for me then, but when I got them I completely understood how to build the illusion. Plus they were so cool that I wanted to be the illusionist in his drawings! I was in high school and built the Zig Zag in my wood shop class. Next I ordered the sub-trunk plans and had a second wood shop project. I was now an illusionist! I bought every book that Paul put out, not just for the illusion plans but also all the building tips included in them. I was very honored when Paul invited me to contribute to his last book, which he had just finished. I never actually met Paul until I was starring in the Wizard Secrets Illusion show at the MGM in Las Vegas in 1993, but without his books and plans I would never have been at the MGM and living my dream. Whenever I would get back to Dallas we would try to get together for lunch or dinner. I loved talking about illusion ideas with him. I have never met any one that was so creative. We stayed in contact through Facebook and I loved reading his posts and his rants. I think I was the only one that would argue with him about politics and he did not de-friend me. In the last 25 years I have traveled the world visiting 87 countries, living in

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Paul's magical creations have been featured by magicians such as David Copperfield, David Blaine, and a host of other celebrities." VANISH MAGAZINE


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Japan and China, toured the US on six tours with of Masters of Illusion, and have appeared on 12 Masters of Illusion television spots. All this is due because I learned how to build my own props in the beginning and was able to make everything so it could break down and travel easily. Because I understand how to build them, when things go wrong with them I know how to fix them, which is so important when you are touring. Even today when I have the professional builders build my new illusions I am very involved with the construction of the illusions to make them practical to travel with. If you want to become an illusionist, invest in Paul’s books. They are one of the best investments I have made in my life. Oh, and that old Zig Zag that I built in the early 80s--I updated it and did it last season on the Masters of Illusion television show and tour, and guess what? The audiences are as amazed today as they were back then!” Another performer, who was a close friend of Osborne, is the master ventriloquist and Tony Award winner Jay Johnson. Their friendship dates back to their early performing days in Dallas and continued through the years. Jay wrote a wonderful tribute to Paul in his blog and has been kind enough to let us republish it in this article. If you haven’t discovered Jay’s fascinating and insightful blog I strongly suggest you check it out--it is a great read. You can find Jay’s blog at http://hellandhayes.blogspot. com or on his website http://monkeyjoke.com “Paul Osborne was introduced to me as the college guy who was helping to market a Dallas singing group about the time I graduated from high school. I saw the hand out materials Paul had done for the group and they were great. Paul could visualize his ideas with a pen and ink and he could write really good copy as well. It was easy to think of Paul as a future advertising maven. It was only a matter of time before a Dallas magician and a Dallas ventriloquist got booked on the same show. It was a few months later that Paul and I were booked to perform together for a Braniff Airline's Christmas Party...I remember that show very well. It was in an empty aircraft hanger at Love Field on a riser with a sound system that created an echo effect like we were performing in a stadium. The guy I thought was just a commercial artist turned out to be a really good magician. Needless to say an act that was amazing to watch

(Paul's act) went much better than an act you have to listen to (my act). I only knew two Dallas magicians. Since one of them went to North Texas and knew Paul, I tried to make conversation about the other magician in town. I only knew his name and saw him perform only once. I asked if Paul knew Garland Kellogg? Paul said, ‘Yes and the next time you see that guy grab him, call me and hold him till I get there. He owes me money.’ I am pretty sure from it was from that moment on Paul and I became friends. Even then the thing that I remember most about Paul's show were the props. A magic act is all about the props. Mostly what you saw in Dallas were props purchased at Douglas Magic Land. They worked fine, but it was not unusual to see a cowboy magician doing the Dollhouse Illusion with a box designed and painted to look like a Chinese pagoda. Paul made his own props. They looked different, they fit his act, and his illusions looked more like beautiful stage sets than oddly coordinated boxes. Soon Paul was designing illusions for other magicians. His Illusion Systems were beautiful draftsman’s blue prints that not only were great plans to build it, the plans were works of art themselves. With Dallas as a starting line, Paul and I continued to cross paths as friends and performers as we both tried to create a career for ourselves. Theme parks were popping up all over the country, and while I was busy performing ten times a day in the stage show, Paul began producing, directing, art designing, building and staffing theme park shows. While I was grinding them out day after day, Paul had several

shows running in several different theme parks with hired performers…doing the ten a day. His eye for the look of a show, his ability to draw, his instinct for advertising and marketing combined with his sense of humor and magic skills made him unique. I remember a story that exemplifies how Paul's mind worked. At a "rides and attractions" conference Paul happened to be having lunch with a guy who sold large expensive carnival rides. As the conversation unfolded the guy said he was trying to sell a ride to a client. It was a stock ride where people stand on the inside of a round spinning cage. At maximum G- force the wheel would turn on its side so that the riders would be spinning perpendicular to the ground. The guy said to Paul the client wanted something different. Paul asked where that theme park was located. The salesman said, "In Nevada, near Vegas." As they talked, Paul took out a sketchpad and began to draw. At a point when the sketch was ready Paul slid it across to his friend. It was a sketch of that stock ride only Paul had drawn it to look like a roulette wheel. With sketch in tow the salesman went back to the client. They loved the idea and bought the ride. The salesman eventually gave Paul a 10% commission on the price of the ride. Not bad for a simple conversation over lunch. Paul could put his imagination down on paper so those less imaginative could see what he saw.

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Over the years if Michelle and Paul were in Los Angeles, or Sandi and I happened to be in Dallas we would have a dinner out together. It was all about friendship, showbiz stories, and laughter. You didn't ‘catch up’ with Paul after being apart for a while, you tried to hang on and pick up where you left off. One evening I got to the waiter before he brought the check arrived and paid it. I told the waiter to say that Garland Kellogg had picked up the check. It became a call back joke. The college guy who owed Paul money became a punch line, perfect retribution. The last time I used that name was three days ago when I replied to an Osborne Facebook post. This morning I found out that Paul was gone. I will miss his presence on earth in ways that highjack my emotions. Since most of our relationship was spent laughing, I smile at the thought of Paul Osborne, and then feel a profound sadness that I will never laugh with him again. Michelle said he didn't like funerals, or memorials, maybe he wouldn't even like this tribute to his memory in a blog. I know he was a regular reader of my blog and we shared the need to rant out loud occasionally. We had plans to work on a book project together that I was looking forward to very much. It wasn't about the book; it was about the excuse to creatively hang out with my childhood friend Paul. So Paul, it wasn't a very satisfying goodbye. I will always be in awe of your talents, your humor, and your personal magic. Since you spent your life building magic illusions is doesn't seem right to break a wand in your honor. So I will just look forward to laughing with you again some day, but for now I don't want to think of you as gone.... magicians never die...they just disappear.” I thank Greg and Jay for allowing me to share their insight into Paul Osborne and his legacy. If you want to browse through Paul’s numerous blueprints and books, including The Art of Rehearse I encourage you to visit his website at http://hamiltonholtinc.stores.yahoo.net/index.html 114

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VARIETY ACT

FIVE AND A HALF WAYS TO ADD PUPPETRY TO YOUR ACT BY JIMMY VEE THE SILENT PUPPET:

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recently read an article in a magicrelated publication that dissuaded magicians from adding variety arts, including juggling, chapeaugraphy, ventriloquism, puppetry, and fire-eating, to their act. The article argued that variety acts diminish the magic’s impact. The author also balked that the addition of these non-magic related acts made those submitting themselves as “real” magicians seems less so. While in some cases there may be validity to this argument, my experience with audiences’ reactions to puppets compels me to disagree. Anyone who has an act that combines magic, puppets and/or ventriloquism knows that the puppets always steal the show. This fact is not something I would have believed had someone told me when I started out as a magician and ventriloquist, but after years of experience, I’ve learned that time and time again it’s the puppets that are the real stars. And many great magicians must have discovered this same secret because many have made their reputation on an act or trick that contains a puppet or puppetry.

Bill Abbott and his Chico routine; and David Williamson and Rocky the Raccoon. There are many other examples of shows that successfully combine bits magic and puppetry, but these shows focus on bringing the two into harmony and the result is magical mastery. With that being said, it’s important to know how to successfully add puppetry to your magic act. That’s why I’ve compiled this list of 5 ½ incorporate ventriloquism/puppetry into your act, whether you are a magician or a ventriloquist. Obviously, if you’re a vent you already use puppets in your show, but check out these ideas and discover how you can add something new to your show.

Some examples of great magician/ puppet duos who have climbed the ranks of popularity are Jay Marshall and Lefty; Don Alan and Stanley; Tom Mullica and Duke; Stan Allen and Stew;

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Many great acts come from puppets that don’t utter a word. It’s amazing to see people’s ability and willingness to connect with a silent puppet manipulated with artful skill. A great example of this is the late, great Bill Demar’s Feldon the Frog routine. See it here: http://tinyurl.com/ feldonfrog Bill’s ability to manipulate a puppet awed and inspired many ventriloquists, including Jeff Dunham. When adding a silent routine to your show, the key ingredient is maneuvering. This is pure puppetry and practicing with your new puppet partner will be key. Use a mirror or record yourself as you act and react your way through your routine alongside your puppet. Make sure you keep your puppet moving so comes alive on stage. Practice small, realistic actions and try to avoid using a lot of big, jerky movements. Exaggerated mannerisms will make the puppet hard to connect with, giving him a frantic appearance. There may be a time in your routine for a big movement, just don’t overuse them. Try to use the movements to convey emotion, and the audience ample time to register each action and reaction.

https://youtu.be/qAWi15MAOmo

https://youtu.be/ETEXJiiW60E

THE SQUEAKING PUPPET:

THE INVISIBLE PUPPET: This idea doesn’t use any puppets, just good old-fashioned imagination. In fact, this routine simply requires you to react to an unseen character. Where the character resides is up to you. The best part—it can be virtually anywhere. You can make your imaginary character come from a phone, a box, off stage, a silk, your hands or in any magic prop you currently own. Pretending to have a dialogue with a character that can’t be seen can be just as amusing to an audience as actually using a puppet. Partly because it leaves a lot to the imagination and imparts a bit of mystery to the act. Theater of the mind is a very powerful force to leverage in your show. Couple the invisible puppet idea with a bit of mechanical wizardry or slight of hand and you can make your invisible pal visibly come to life without ever actually appearing. For instance, add a zombie routine to the end of an invisible exchange to “show” the character without really showing it. Bill Abbott’s The Thing would work

nicely for this as well. You could also couple this kind of routine with a haunted hank, genie bottle or prayer vase effect, or use a card fountain, squirting water or just reach in and grab stuff out of the container your character resides in. There really is so much you can do with this idea to create a strong interaction between you and a character of your choosing. This is a cheap, fun and unique way to incorporate a “puppet” into your act. Using ventriloquism to add a distant or muffled voice makes this effect even stronger.

While the Squeaking Puppet doesn’t say very much, it is a more verbal routine than the Silent Puppet. Squeaking Puppet acts are very similar to what I described above in the silent puppet bit. The main difference is that this puppet does talk back using a few simple sounds. The cool thing about this type of act is you get verbal interaction, but you don’t have to talk or do full ventriloquism. Best of all, you don’t have to write dialogue for your puppet, well sort of. You do have to write an interaction, but it’s minimal. Think squeaks and grunts that convey emotional reactions. Those are the tricks of this trade. A great example of this type of act is Taylor Mason’s Paquito act. This act is a thing of simplistic beauty. Using a simple puppet that says nothings, Taylor Mason wins the hearts of the crowd in an instant with mere squeaks. Check out Taylor here: http://tinyurl. com/thetinypig

https://vimeo.com/100772132

PSEUDO VENTRILOQUISM: If you want to add something that resembles true ventriloquism to your show without the years of practice, Pseudo Ventriloquism is the solution you’ve been searching for. But don’t get too excited! It still requires a good amount of rehearsal time to be show ready.

VENTRILOQUISM

Frankly, I’m biased when it comes ventriloquism. Ventriloquism is a superb skill, pure and simple. And when done properly, it is a thing of beauty. It’s so extraordinary that the audience often gets lost in the illusion. I’ve had people talk to my puppets, argue with them, heckle them. Others have even come up to ask if my puppet was a robot or if I was using a recording. The good news is that ventriloquism does not require some special physical attribute that makes it only accessible to certain people. Anyone can learn ventriloquism and can become a proficient practitioner with practice (try that without moving your lips). However, ventriloquism remains out of reach for many because of the time investment it requires. Training to be a ventriloquist takes time and effort to learn to bring the many facets together to be a unified whole. Good ventriloquism combines puppetry (puppet manipulation), comedic writing 130

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and timing, acting, (acting and reacting to the puppet) and, of course, the skill of actually talking without moving your lips. But in my opinion, and in the audience’s, it’s all worth it. If you’re interested in learning ventriloquism, check out these first stops: Maher Studios Interactive Course: http://tinyurl.com/maherstudio Tom Crowl’s Course: www.learnventriloquism.com I also recommend picking up Taylor Mason’s book, The Complete Idiot's Guide to Ventriloquism These are just a few ways to add a little puppetry to your magic act. If you’ve never tried it, I encourage you to give it a shot. It just may become the most talked about part of your show.


Pseudo Ventriloquism uses a recorded voice for your puppet pal. You can create a puppet voice and record your dialogue ahead of time. When it’s show time, you use your audio equipment to play it back, using pantomime to bring your partner to life. Your lips will be perfectly still as he does the talking, resulting in a great illusion. If you don’t do voices, you can have a professional voice over artist record your puppet’s dialogue for you. A lot of good voice over artists can be found on Fiverr.com for relatively cheap. You can also buy pre-made voice tracks and routines. Steve Axtell has several pre-made routines and audio (Ax-Trax) available on his website at Axtell.com And if you really want to go completely hands-off, you can purchase an animatronic puppet and pre-program all the audio, mouth movement, body movement—EVERYTHING. Simply time out the entire routine, record it and just play it back on stage. Then you just interact with the puppet according to your script. I don’t have any experience with this, but I have seen it in action and it looks like a lot of fun. Affordable animatronic puppets are also available from Axtell.com

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MAGIC REVIEWS

MAGIC REVIEWS

MAGIC REVIEWS PAUL ROMHANY & FRIENDS Based upon top selling products from magic retailers and wholesalers, as well as consulting with over a dozen professional magicians, Paul Romhany reviews tricks, DVDs, books and Apps.

If you would like to have your product reviewed in Vanish, then post it to the Magic Review team. With an audience of over 100,000 readers your product will reach a wider audience than any other trade magazine. NOTE: We get sent A LOT of magic to review and ONLY CHOOSE the products we feel deserve the space. Not ALL products will make the review column. Vanish Magazine- Trick Review PLEASE NOTE: We are based out of BC Canada. Contact us to get the shipping address. [email protected] TO ADVERTISE IN VANISH To place an advert contact the editor for a list of price options. Look at the various advertising sizes in this issue and choose the one that best suits your needs. For more information e-mail at: [email protected]

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1

INFERENTIAL Kainoa On Coins

you recreate some of the best effects in coin magic with the simplest of methods. Copper/silver set included. MY THOUGHTS: You receive a DVD with gimmick coin set. The only thing you need to supply is one regular US half dollar. Kainoa does an excellent job teaching and the filming is of high standard making it easy to learn. The actual trick itself is pretty much self-working with high impact. The original Kurtis Kam routine is so devious that you might feel guilty performing it - but don’t! You show a group of coins and cleanly place a silver in a spectator’s hand and a copper in another - they change places. The method of this is what makes it so much fun to perform. You can perform it for one person using both hands or two people or a group. The overall presentation makes so much sense especially as you place a smaller silver coin on the closed fist holding the silver and a copper on the hand holding the larger copper coin. Kainoa shares his own handling and routining for this effect that I am sure people read but passed over. Interfential Wild Coin - Another fun routine and quite different again - where you show four copper coins and they turn in to silver back to copper. This all happens in a spectator’s closed fist. The handling pretty much does all the work and you are supplied with the necessary gimmicks for this. The fact you are using the spectator’s hand as a bucket or place to hold the coins is a great idea. Perfect for any type of walkabout condition.

The Kainoa on Coins series brings you the best sleightof-hand instruction from the Big Kahuna of Coins, Kainoa Harbottle. Inferential teaches three easy-to-perform copper/silver effects from the modern masters of coin magic: Kainoa, Curtis Kam, and Miguel Angel Gea. Inferentialtakes a casual technique to the professional level. Whether you perform in intimate settings or for large groups, this DVD has something for all. Inferential Copper/Silver This is the easiest and clearest version of the copper/silver transposition you can present. With the coins provided and some pocket change, Kainoa teaches you Curtis Kam's incredibly devious transposition of two coins in spectators' hands, without any complicated sleight of hand. Inferential Wild Coin Kainoa shares his version of Miguel Angel Gea's wonderfully interactive routine, where four copper coins change into silver and then all revert back again in the spectator's hands. Standing Inferential Kainoa provides you with a close-up or stand-up routine that uses the "inferential" concept at the fingertips; letting 136

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The Inerential move is very clever and the routines shared are some examples of what can be done with it. I really love the first routine and it’s something that I will be carrying in my pocket at all times. When asked to do a trick you can’t go past something like this. Very easy to do and very highly recommended for every level of performer. PRICE: $40.00 AVAILABLE: All magic shops WHOLESALE: www.murphysmagic.com

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VOID By Agus Tjiu

and you have much more control over the hole. You receive two gimmick cards, one a double backer and the other a regular looking card which will enable you to perform different versions. There is a lot of work involved in making these and everything is done for you. You also receive a DVD that shows various handlings and how to fix the gimmick should a small part come off. It would only take a second or two to fix it but I’ve been using it now for some time and it hasn’t come apart yet. If you do the version where the hole ends up on a signed card there is a little preparation but not much, you just need to practice the handling and spectator management. This is a very clean version of this premise and you can perform it pretty much any type of close-up or walk-about condition.You do need to be slightly careful of lighting when performing so you don’t expose the gimmick but in most conditions I work such as hotels, etc. A nice feature is that you end the trick without having the gimmick in play as the hole ends up on the signed card held by the spectator. This means all the heat is off and they will go crazy with this finale addition. An extremely visual close-up routine that really is high impact. PRICE: $39.95 AVAILABLE: All magic shops WHOLESALE: www.murphysmagic.com

From the mind of Agus Tjiu. Creator of Cross and Nametag. A new and improved visual hole transformation effect. VOID. The spectator chooses a card, then the magician marks the chosen card with a hole puncher. Without any fancy moves, the magician transports the hole to another location on the same card. It happens inches away from the spectator without cover or other funny business. Comes with a special routine suggestion to transport the hole to another free chosen signed card, and can be given to the spectator as a souvenir and leaves them completely astonished. New innovation hole transportation system: No flaps, no sticky stuff Made with precision Comes with 2 types of gimmick to support your routine: 1 "double back" type 1 "regular look” type MY THOUGHTS: This is a great addition to the moving hole plot on playing card. This is similar in some respects to Tjiu’s Cross but this I feel is far superior and easier to handle. In this version you punch a hole in a card and it moves around a card finally ending up on a signed card. Unlike Cross you can handle the gimmick rather than having to move the card around, VANISH MAGAZINE


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3

WILL TO READ BY STEVE DELA

MY THOUGHTS: There have been various versions of this effect over the years since the original. This version is definitely one of my favorites, if not my ALL TIME favourite. You are supplied with an excellent training DVD where you will learn a very direct routine by the creator Steve Dela and a longer routine by Peter Nardi. You also get the necessary gimmicks to do both routines. If you really want to connect with your audience then Peter’s routine is perfect for that. Peter’s routine is more in-depth and Steve’s is much more direct. It all depends on what you prefer and your style of performing. This isn’t something you would want to do as a walk-around or table hopping effect but something where you can sit down and take time to connect with your spectators. The final prediction ends up written on a page of a book, which makes a great premise and impossible prediction.

Have the ability to predict the actions your spectator is about to take! Steve Dela has created a powerful piece of mentalism that fits neatly into your wallet. Three objects (pen, card and coin) are placed on a table. Your spectator places one in their pocket, keeps hold of another and passes one to you. Even though every decision is super fair, you proceed to reveal, that, the exact location of each object has been previously predicted ahead of time within the "torn out page" of a book. If that wasn't enough, you can then ask your spectator to simply think of ANY word from either side of the page. Then, with NO questions asked, you can start to reveal it letter by letter. Once they confirm the 4th letter in a row, you proceed to tell them the entire word! - The torn out page can be in full view the entire time - No switches necessary - Spectator can hold the prediction - Every choice is super fair - Always 100% correct - No flaps, just one piece of paper - No moving parts, nothing to break - Fits neatly into your everyday wallet - Everything is included to perform straight away - BONUS... includes "All About Eve" (1 page book test) - BONUS... BIP Book reveals also built in! 138

Comes complete with: - Custom designed and printed gimmicks - Full "in depth" training DVD, complete with routines, handlings and variations by Steve Dela and Peter Nardi

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The nice thing about this version over many others is that there is no memory work. Steve’s clever thinking has really made this incredibly streamlined.Steve’s routine is so clean and direct that it would even fool magicians because every decision made by the spectator is really made by the spectator. This is what makes this so strong. I really love the way the prediction is on the table at the beginning and everything is so fair. There are two final scenarios and either way is as strong as each other. It’s so easy to do that it really seems like the real deal. A really nice feature about this is that a book test is built in. This is a real bonus to this routine. Peter’s presentation combines BOTH routines in a really well structured routine that makes so much sense. This uses Steve’s book test “All About Eve.’ It’s a terrific book test that is perfect with this routine. The book test is built in to the prediction so you get two incredible effects that make this such a strong piece of mentalism. There is a little to memorize but you can use a crib for this. To be honest, with only 19 words you can easily memorize this making it quite easy. There is something Steve does in this book test that is unique to him and it is incredibly clever. It allows you to give 100% information to the spectator who is thinking of a word - and you only need to know one thing and you will be able to know the word. This is one of the best pieces of mentalism I’ve seen in 2016 and definitely something every mentalist or magician might want to consider getting. It’s incredibly strong and very commercial. You can take this piece of paper (prediction) in your wallet and perform it anytime and anywhere. You get a book test AND a Free Will prediction. For $35.00 US I think this is one of the best deals of the year. PRICE: $35.00 AVAILABLE: All magic dealers WHOLESALE: www.murphysmagic.com

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THE CASE BY SANS MINDS

In order to complete the illusion, the gimmick comes in two parts. One is the black case and the other part is where the choice comes into play. It is needed to match your phone or your spectator's phone. Why only the 4" series? Will other size models be available? The 4" model holds the highest market share out of all iPhone users at the moment. Due to the complicated manufacturing process, SansMinds is only able to make the most commonly owned model available. If a specific model reaches a certain percentage of market share, then it might be considered making it available in the future. *Note: TV rights not included with purchase. Please contact SansMinds for TV performance rights.

MY THOUGHTS:

A precisely engineered device that vanishes your phone in the most impossible way. Designed for 4" iPhone models such as 5 and 5s series. Three years in perfecting the gimmick, SansMinds Creative Lab proudly presents to you "The Case." A precisely engineered device that allows you to vanish a phone in the cleanest way possible. It's designed to disguise as a regular iPhone case so it will always be on you and ready to amaze. The SansMinds Creative Lab team has tested this device in every setting possible. It packs small and plays big. It is easy to use so you can focus on your presentation. The Case comes in an elegant matte black finish. Please note you need to select a color model that matches your phone. FAQ Does the case protect my phone? It absolutely does! It's made to be an everyday phone case. Does it fit the new iPhone SE? Based on the current specification given out by Apple, it will fit as long as it is the same size as the iPhone 5/5s. We suggest waiting for the SE line to launch before your purchase. Does the case come in different colors aside from black? The Case only comes in an elegant matte finish black. It is the perfect color to disguise as an everyday phone case. Why do I need to pick a color?

Here is a classic effect given the modern twist that makes it something everybody with an iPhone should carry around with them. This isn’t a trick to fool fellow magicians but is one that workers will carry with them and really blow regular people away with. You receive the special gimmick (make sure it matches your phone before ordering) and a DVD of instructions and ideas. My iPhone fits perfectly and the gimmick looks just like part of my phone. It also has a case so your phone is protected as well as ready to perform anytime. This takes up no space other than the space of your phone, so if you carry an iPhone then this is all the space in your pocket you’ll need. The basic routine taught is that you talk about how you keep losing your phone and then place it back in the case and it will instantly vanish. The vanish is so good that the spectator can handle the case and not find the secret, because the phone really is gone. It’s so clean and so easy to do. There is very minimal handling required and you could almost perform this straight away. I would never suggest this but this is the nature of this particular trick. The props are extremely well made and designed JUST for this effect. I would imagine that A LOT of prototypes and hard work went in to bringing this to market - and cost!! The gimmick looks like it is moulded just for the trick and has some nice additional features that help the trick. Part of the basic trick is misdirecting the audience somewhat, but if this makes you feel uncomfortable then they teach a version that can be done surrounded so their is no heat at all. The only difference here is the actual presentation which gives a reason for ditching the phone in your pocket, but it does make sense and takes the heat off if you feel uncomfortable with the other handling. The phone can reappear in your pocket or another place if you can work it in your routine. They show you a routine where you make the phone vanish from the case and appear on the table. Think of this as card under glass type routine so misdirection is needed. Another great idea is to have the phone re-appear anywhere such as a spectator’s purse. You need to prep VANISH MAGAZINE


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this slightly but it’s worth it. This is designed for the more experienced performer and one who knows how to make the most out of a casual situation. If you do any type of walk-about magic then you will love this, or if you just want to have a trick on you at all times and own an iPhone then you can’t go wrong here. If you are looking for a very modern mini-illusion you can carry with you at all times then this is a must have!! VERY HIGHLY RECOMMENDED.

5

TRANSCENDENCE BY PETER PALLIKAAN

COST: $59.95 AVAILABLE: All magic dealers WHOLESALE: www.murphysmagic.com

The most magical change of four cards you have ever seen!!! Four spot cards are shown front and back. The cards are mixed face up and face down. Now with no funny moves the cards instantly change to four court cards, which once again are shown front and back!!! Transcendence is a super quick, ultra-visual packet trick that will fool your spectators badly. Peter Pellikaan, the undisputed King of crazy packet tricks has created one of the best four card changes we have ever seen! Transcendence comes complete with everything you need to start using it straight out of the box. Includes: in depth training DVD, gimmicks and carry wallet. MY THOUGTHS: You receive a DVD with instructions and set of cards plus something that will help you prepare the cards. This is a great Youtube effect for those that like to perform for the camera. It looks very clean on camera and will require some work to master it for a live performance. The cards they supply you will need to be careful with as they are ultra thin and won’t last too long, so prepare to buy an extra deck, which you can get and make more up. The effect is very visual where you show four cards and they change to different cards. I think performance wise you are quite limited and the cards can’t be examined before or after. I would recommend practicing this with regular cards first and making 140

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this up then when you have all the moves down move on the cards they supply. It’s a nice effect and if you can work it in to a routine where you bring the cards out of a wallet and can put them away when finished then it’s a neat trick. On the DVD you will learn some packet trick type moves that will be useful to the novice. Overall it’s a strong and visual effect but will require work and care to master it. If you have the right conditions and routine to introduce this then it is a nice little packet effect. It’s a very quick trick. Perhaps this is something that would have been good in a book rather than a single DVD. I think for the price it’s probably a little on the high side. If it was around the $15.00 mark then I would have rated it higher.

6

BILLFOLD by Kyle Marlett

PRICE: $25.00 AVAILABLE: All magic shops WHOLESALE: www.murphysmagic.com

Simple and stunning! In this highly visual effect, you can morph credit cards, playing cards, candy wrappers, tickets, and checks into real currency! The objects melt away and change into dollar bills without any perceptible finger movement. Many effects are possible with "Bill Fold" but this one is a favourite you wager a dollar that you will be able to find the spectator's card. You place the dollar in her fist. Then you reveal the WRONG card. "I guess you get the dollar," you say as you change the playing card INTO a dollar bill! When she opens her hand, she discovers that the dollar she was holding has changed into her folded selection. Use ANY currency-even plastic money. The most attractive feature of "Bill Fold" is the idea that you will learn to customize this trick to any small paper object that you like. Use YOUR ticket stub, or a client's business card, or anything you want... and change it into real money! Includes instructional DVD and pre-made gimmick MY THOUGHTS: You receive a DVD with over an hours worth of instructions plus a gimmick. The gimmick is incredibly simple yet it allows you to perform a very visual change. To be honest I’ve VANISH MAGAZINE


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seen this sort of thing before so it’s not really new to me. It works in a similar way to a torn and restored newspaper I’ve been performing for years. In this case you don’t tear anything but change a smaller object (such as credit card or playing card) to a larger note. This works with any currency and both paper and plastic money. A nice feature is that the card is held vertically and when it changes the bill is horizontal adding to the mystery. It is slightly angle sensitive as you can’t have people directly behind you or to the sides, it is best viewed face on. You are able to remove the gimmick and hand out the bill at the end. Kyle has created an effect for this where he says if he can’t find a chosen card the spectator will win a dollar. He holds the wrong card and it turns in to a dollar with the chosen card being held by the spectator or in another place. You will learn how to make up the gimmick, which will take less than a minute because it will wear out. This is nice little effect that is visual and comes as a surprise. The spectators WILL want to grab the bill once it changes so you will want to practice stealing it. A nice feature is that you can customize this to suit your needs from tickets, credit cards, cards etc. Ideal for walkaround for small or larger groups. If you can build this in to a routine then you’ll have a very visual piece of magic.

7

BURN NOTICE BY TAKEL


The Mystery Box has always been one of magic's most baffling plots and one of the most unexplainable crescendos to a routine. A signed card that appears inside an object that has been in full view the whole time has delighted audiences for decades. Many times these objects are props that you don't see every day, and can look suspicious. In his debut release with Murphy's Magic, Takel has brought us Burn Notice. Burn Notice takes the strongest elements of the mystery box and blends them with an organic every day object that everyone is familiar with: a simple match box. Place the matchbox in their hand and watch their eyes light up in disbelief as their card vanishes from the deck, only to be seen again when you slowly open the matchbox to reveal their signed card inside. The simple operation of the gimmick makes the retention of vision unmistakable, with the matchbox ending super clean and it easily resets in two seconds. Now, you can perform your favorite mystery box plot with a small, powerful gimmick that rides in your pocket wherever you go. What you'll get: - Burn Notice gimmick - Online video instructions covering performance, handling, maintenance and tips - Gimmick repair materials 142

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What you'll learn: - The basic signed card to impossible location routine - Plus additional ideas and handlings that are not only limited to playing cards but money, predictions, business cards etc. - Learn how to customize and/or repair your Burn Notice gimmick - Simple, effective and easy version of the Mercury Card Fold - Handlings without the need for the card fold MY THOUGHTS You receive a gimmick matchbox plus download DVD instructions. This is a very clever and clean way to have a card appear in an impossible place. In this case the place is a matchbox. You can show the card inside the box prior to having one selected and signed. The mechanics pretty much make this work by itself. As with all types of this type or effect you will need to know, or learn a mercury card fold. If you don’t want to learn a mercury fold (and why wouldn’t you?) there is a version where you place a folded card inside and envelope and steal it out then do the trick. Personally this isn’t the best way to perform this but it’s there if you need it. What makes this slightly different is that you don’t have to do the usual dumping of the card from the matchbox. In this case you can fairly reach over to the card inside the box and take it out - of course there is slight cover but it happens in a natural and quick manner. The matchbox you are supplied with isn’t a real matchbox and has been printed just for this routine, however the gimmick will fit inside a regular box so you can use one if you don’t want to use the one supplied. With a regular box you will also be able to use the side strikers should you want to use it to light a match. You can also change the gimmick from a playing card to a bill which appears inside a matchbox. You are supplied with a little extra something to make other versions up. Anything that can be folded can end up inside the matchbox, for example, a folded business card. This is a nice addition to this genre of magic and the matchbox can easily fit in your pocket. A little handling is required but nothing any magician with a little experience couldn’t handle. Overall a nice prop and some strong magic. Great value for money on this one as well. PRICE: $24.95 AVAILABLE: All magic dealers WHOLESALE: www.murphysmagic.com

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ZODIAC PREDICTION BY LIAM MONTIER

An incredible, three phase routine that allows you to predict your spectator's star sign AND selected card... and then turn the rest of the playing cards blank. All with NO moves or sleight of hand. This is mega commercial magic that anyone can do. It's a keeper!!! "This simple routine packs WAY more punch than I ever expected. It's become a highlight of my lectures!" - Liam Montier Includes all the gaff cards you need to perform (25 Bicycle cards!), a beautiful A7 mini booklet, two black mini envelopes with 'zodiac stickers' affixed, plus downloadable HD video instructions! MY THOUGHTS: You receive a set of instructions, an envelope with a sticker on it and a card inside, some blank cards and access to download video which is 12 minutes in length. This trick is based on the old Clock Trick, however it is much better because of the overall routine is based around zodiac signs. If you thought the clock trick was boring or had no impact this might change your mind. The method is very easy and this type of routine is best suited when you can take some time with the spectator and both sitting down. People love astrology and by combining it with a magic trick is a real hit and very strong. What I like about this is that you are able VANISH MAGAZINE


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to know the spectator’s star sign before they even reveal it in any way. This is very strong and it’s a direct hit, no guessing at all. This also has two other kickers as you do a prediction of the card at their star sign then the final kicker is all the rest of the cards in the clock are blank. It’s very straight forward and easy for people to follow. The ‘maths’ in this are well hidden and I would say it’s almost self-working. A great effect if you like to combine magic with astrology. Easily fits in your pocket along with your deck of cards and the envelope can be in your wallet.

9

Pen-nomenon by Steven X

PRICE: $25.00 AVAILABLE: All magic dealers WHOLESALE: www.murphysmagic.com

Pen-nomenon gives you the key to unlock the door to the spirit world; giving you the power to communicate with spirits. Imagine having the spectator think of anything. After a few words, a spirit possesses your pen and begins to write exactly what they were thinking of. Pen-nomenon is a highly visual, easy way to communicate with spirits. Discover the power of Pen-nomenon. Get your copy today! 5 different handlings plus bonus effects. MY THOUGHTS: You receive a teaching DVD with gimmicks. The DVD is over an hour in length and Steven shares several ideas on using the gimmick to get the pen to mysteriously write. If you are familiar with Steven’s creations then you will know the gimmick involved. You are supplied with two of the gimmicks that Steven has used and released in the past. These are really amazing and easy ways to perform certain routines that use this secret method. It makes the set up so easy. You will need to replace each time you perform but you can buy these gimmicks by themselves. Steven does show you how you can use your gimmick so you don’t need to replace it each time, but I love the way he sets this up right in front of the spectator. The routine Steven performs on the DVD uses an Out To Lunch principle and by combining it with the Pen-nomenon you get a very spooky ghost writing effect where the pen is able to write the name of the chosen card by itself. The method allows you to cleanly show the pen writing, although they can’t actually see it write on the paper. This is best viewed from a slight distance and you will need to work on how you handle this so they can see the pen moving without writing. 144

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Steven also shares a version without using Out To Lunch and shows you how to make the gimmick necessary to do this, although you can buy various gimmicks that will allow for this method to happen. This version is probably slightly better than the first one because everything can be handed out. The idea of having a pen move by itself on a pad is not new, but Steven’s method makes this much easier than others out there. You can be set up anytime to do this, although will need to slightly pre-set your pen. This would make the perfect addition to any bizarre type show and even as a way to introduce yourself to open a show. You can do this anywhere at anytime or by using Ghostwriter he is able to walk around with the pad and have the pen stand up and actually scribble. There are a variety of ways you can use this. My favourite is Ghostwriter which is the last version taught on the DVD. If you were a mentalism or medium this would slay an audience. They can see the sharpie writing and then you can give a reading on the scribble. It’s a very cool effect.

10

CONJURING ASIA By Chris Goto-Jones

I think for a mentalist or bizarre performer this has some strong possibilities. A magician could certainly use this and have fun with it in the right condition. Overall, an excellent product using an idea of Steven’s that he has become well known for. If you are familiar with his methods then you will really enjoy what he has created here. If you are new then I think you are going to want to check out his other products using this method to see what else he does with them.

PRICE: $29.95 AVAILABLE: All magic dealers WHOLESALE: www.murphysmagic.com

336 pages The promise of magic has always commanded the human imagination, but the story of industrial modernity is usually seen as a process of disenchantment. Drawing on the writings and performances of the so-called 'Golden Age Magicians' from the turn of the twentieth century, Chris Goto-Jones unveils the ways in which European and North American encounters with (and representations of ) Asia the fabled Mystic East - worked to re-enchant experiences of the modern world. Beginning with a reconceptualization of the meaning of 'modern magic' itself - moving beyond conventional categories of 'real' and 'fake' magic - GotoJones' acclaimed book guides us on a magical mystery tour around India, China and Japan, showing us levitations and decapitations, magic duels and bullet catches, goldfish bowls and paper butterflies. In the end, this mesmerizing book reveals Orientalism as a kind of magic in itself, casting a spell over Western culture that leaves it transformed even today. Analyzing the secretive work of magicians, Goto-Jones charts the history of modern stage magic across India, China and Japan, looking at representations of, and encounters with, Asia in the cultural imagination of the West. Utilizing biographies, travelogues and reviews of magical VANISH MAGAZINE


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performances, the book explores the relationship between modern magicians and magic. MY THOUGHTS: It is very rare that I read a book THREE times but this was one of those rare books. The author, Chris Goto-Jones was educated at the Universities of Cambridge, Keio, and Oxford. He is the Inaugural Chair Professor of Comparative Philosophy and Political Thought at Universiteit Leiden, Professorial Research Associate at the School of Oriental and African Studies, University of London, and a Senior Research Fellow at the University of Oxford.

11

DECEIVE by Sans Minds

This book is really two books in one. You could easily read the book without reading the footnotes, however, the footnotes are a book with themselves. Jones has gone to incredible length to do search out the top magical scholars and thinkers and piece together a modern view on magic. This is definitely a book written by a scholar and is an extremely intelligent and well written look at not just Asian magic but an educated look at modern magic. To find out about magic trends today it is important to look where it came from. Jones talks about modern magic in history and has a chapter that sums up my personal feelings about magic called 'A theory of Modern Magic.' Jones also looks at some of the famous Western magicians who tried to bring over Asian magic to the west. He gives a very detailed look in to how accurate or how inaccurate a representation of Eastern and Asian magic it really was. The book is at the same time a history of magic in its Golden Age, an exploration of the imagination of the East and of our passion for exoticism, and a fair analysis of political issues connected with ethnicity, representation and perception, and discrimination.

SansMinds Creative Lab team is always pushing boundaries in revolutionary ways to enhance audience experiences. SansMinds is proud to present to you Deceive. A revolution in spectator's hand card change that not only the spectator you are performing for can feel the magic, everyone around can SEE the visual change too!

Interestingly playing cards have played almost no role in the story of Oriental magic. The trend today is quite different of course, so it is interesting to see what came before and how trends change. For me, the focus of the book was how modern magic can be a meaningful category both in theory and practice.

Text description doesn't justify how powerful this is. Check out the trailer, NOW!

As you read this book you will be taken down the different ages of magic focusing on Oriental magic, and how it becomes intertwined with all kinds of ethnic and racial stereotypes. At the same time looking at the challenges that magicians from Asia faced about how to represent themselves to Western audiences. Oriental magic opened up possibilities for today's performances of Bizarre Magic and Street Magic, and as Jones says in the book, "it enabled and encouraged new ways for magicians to exhibit a form of commitment to magic that resembled a process of becoming a magical being.

* TV rights not included with purchase. Please contact SansMinds for TV rights.

A MUST READ FOR EVERY SINGLE MAGICIAN Paperback $29.99 ISBN: 9781107433823 146

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* Fully customizable with your favourite playing card designs * Package includes gimmick material

MY THOUGHTS: This is a DYI effect from Sans Minds Creative Lab. There is quite a bit of DYI involved in this and it will take some patience. You receive a DVD with some magnets but will need playing cards and be able to split a card. In the DVD they say that part of the gimmick that is obvious to the magician will not be seen by the spectator. Having made this up I can’t say that this is the case. You really need to watch how you hold the deck. This is an extremely visual change but because of the gimmick card it is best done in low lighting. One of the nice things about this is that you can keep the gimmick card in the card box and add it to the deck when needed. There is a little skill required but all moves needed are taught at the end of the DVD. One

of the nice features about this over other ‘flap’ style tricks is that this happens with the spectators looking down - so more people get to experience the effect. If you enjoy DYI and can control working conditions this is a nice visual routine. For this price though I would have liked to have seen the gimmick already made up. When I look at what other companies are doing for this price the majority have gimmicks made up rather than DYI.

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MONTE TEST By Anthony Stan


Monte Test is an original version of the famous three card monte routine. Anthony Stan presents to you a new approach with MULTIPLE PHASES, and where you finish completely CLEAN. The game is simple, the spectator must find the winning card which is the different card (for example: the 9 of spades). Phase 1: The spectator tries to find the winning card, but he is wrong. Phase 2: The winning card (the 9 of spades) becomes red. Now, the card has a red back and it's easy to follow. Phase 3: The spectator tries again but when the red card is revealed, it's not the winning card (for example: it's the 9 of hearts). The magician gives two other chances to the spectator but he is wrong on both of them. Then, the red backed card turns to a blue backed card once again. Phase 4: The magician puts one card (the 9 of hearts) in his pocket and keeps only two cards in his hands. But now, these cards are the 9 of hearts and the winning card (the 9 of spades) is in the magician's pocket. Hand the cards to the spectator for examination Includes the cards and video instructions(English/Français) Ready out of the box Easy to do Examinable 4 killer phases 2 handlings VANISH MAGAZINE


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Note: The cards included may have different faces to those shown in the trailer MY THOUGHTS: This is a neat twist on a classic effect. You receive gimmick cards and access to the online tutorial. This is a great walkabout trick because everything happens in your hands, so for those who do any type of performance with people looking down this is perfect. It’s a very entertaining monte routine and done as a magic trick where the cards change front and back throughout the effect. The moves are fairly straight forward making this easy for all levels. To master this you will need to sit down with the cards in hand take time to go through all the moves. It will take a little time and practice but is worth it. One of the nice touches in this is that you are left clean at the end - it’s a very commercial routine that many magicians should definitely look at. I really enjoyed this as it’s clever, fun and entertaining. The perfect packet trick with a classic theme and lots of new twists and turns making it very entertaining. Great value for money because this is a real worker.

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ELECTRIC CHAIR & PAPER BALLS BY NICK LEWIN

PRICE: $19.95 WHOLESALE: www.murphysmagic.com AVAILABLE: All magic shops

All you need are 13 paper napkins, an empty chair, and THIS ROUTINE! This is one of the most commercial and laugh filled routines in the business. It was the centerpiece of my professional show for many years. I am now passing on the full details of this classic routine for the first time, Every detail of Ken’s routine, plus the many changes, improvements and additions I developed are taught in detail. This performance was one of the keystones of Nick’s career as a corporate magician.” 36 years later it is still great and timeless entertainment! Nick Lewin is One Degree From Ken Brooke and enjoyed six hours of instruction directly from Ken on the Electric Chair and Paper Balls Over Head. "I worked in Ken Brooke’s Magic Place in Wardour Street in London, but paid for every single trick I ever learned." Ken came in on his only day off, Sunday, to teach me his treasured routine. His notes were invaluable. Working pros, or anyone who wants to be a commercial working pro, should have this routine in their repertoire. The information on these two discs contains not only Ken’s routine and personal notes, but all the refinements, additions and improvements that Nick has developed in the 48 years he has been performing it. The meticulous attention to detail in this release, make it the ultimate master class in performing this legendary routine. nce you know the true secrets, many of which are being O revealed for the very first time, you will quickly be able to 148

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add the reputation making feature effect to your show. BONUS MATERIAL: PDF/CD with script, valuable additional information, Ken Brooke’s notes to 16 year old Nicky, photographs, Nick's improvements, etc. "In 1968 I paid 50 Guineas which is worth approximately $1,000 today, and it was worth every British penny," says Nick Lewin. Ken Brooke taught the Electric Chair and Paper Balls Over Head only to a few individuals, and the routine was NEVER SOLD to the general magic community. He never wrote a manuscript--it was all verbal exchange from mentor to student. All you need are 13 paper napkins, an empty chair, and this routine. It's a winning combination and a combo that Ken Brooke originated for his personal magic act. The Electric Chair Paper Balls Over Head is a five to eight minute routine of strong magic and audience participation. First you "fool" the audience, then you "fool" your assistant, and the best part is YOU DO NOT NEED, ELECTRIC CHAIR. Nick explains exactly how to handle each and every aspect of selecting an assistant, and it's part of the "Packs Flat Plays Big Series" AND the "Emergency No Props Series." Plays perfectly in a theatre audience of 2,000, a Corporate Event, or Cabaret. The DVD is your personal Master Class. This effect is NOT CHEAP because you are paying for a time tested professional routine. Look at what you are saving by NOT buying an electric chair. Just 13 paper napkins are all you need and any empty chair. All the details are included, and there are two hours worth plus bonus material. Features NO SPECIAL CHAIR IS NEEDED, CHOOSE ONE AT THE GIG. FULL SCRIPT, DIALOGUE AND PATTER SUPPLIED. THE ULTIMATE PACK SMALL AND PLAY BIG ROUTINE. A REPUTATION MAKING ROUTINE THAT IS PERFECT FOR ANY COMEDY PERFORMER. IDEAL FOR CABARET, CORPORATE OR THEATRE PERFORMANCE. Every detail is covered in this comprehensive two hour plus DVD. MY THOUGHTS: Without a doubt one of the best audience participation routines you are ever going to find. Many years ago I got to see Nick perform this live in Las Vegas in a showroom and it really killed. For years I wanted to do this myself but never did because it was not my routine. I ended up just performing the paper balls over the head, and while it got laughs it never got the reaction that the electric chair got.

everything from how to handle microphones to making the spectator feel at ease on stage and give nothing away during the first part of the routine. While the blurb says this effect is not cheap I would disagree. I would say for $99 you are actually getting a full routine that you will put in your act and keep it there for ever. It's the perfect routine for corporate situations especially when asked to do something with a certain person, or even a birthday party type routine for adults. Nick has a way about him that allows him to come off a little cheeky without embarrassing the spectator on stage at all. The detail that Nick gives out here in incredible. He has put this through every working condition and is able to share his knowledge with us. I dare say he knows more about this than Ken Brooke did when he first taught it to Nick and Paul Daniels. For me, the best part of the routine is that is uses no props, except for 13 napkins and a regular chair. It's all about presentation and of course handling. This could in fact be the ultimate routine for corporate magicians and cruise ship magicians. I would say certainly for anybody how performs any type of comedy magic. I've even seen magicians do this who have no sense of comedy at all, yet they are able to get laughs with this routine. Nick really has left a legacy with this DVD, both for himself and for Ken Brooke. If you do any type of adult work then I strongly urge you to get this product. It has become the signature trick of several famous magicians and can now be yours. As a bonus you also get a PDF with original notes made by Ken to Nick on this, as well as photos from the very first cruise ship Nick performed on doing this very routine in the 70s. As for me ,I can now finally perform this routine after seeing it almost 20 years ago now. It has lived with me for all those years knowing I could never do it because it was not on the market and was a signatures of Nicks. My suggestion when you purchase this is to sit in a quiet place for 2 hours and give this the time it deserves. You will be left with one of the best investments in a routine you he probably ever made. PRICE: $99.00 US incl shipping in USA AVAILABLE: www.lewinenterprises.net

Watching this was like having Nick in your own living room teaching it your personally. Over two hours of every nuance and bit of business you can imagine. There are a variety of live performances and Nick talks in detail about those because there are various handlings you can do. He covers VANISH MAGAZINE


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TECH TALK WITH CARL ANDREWS

It is very cool and something you will have a lot of fun with while performing. You will have to pay attention to lighting as well as if the spectator wearing glasses or contacts. The effects are very easy to do and get a huge reaction from the audience. There is no App involved at all and you use a borrowed phone. It comes with a stack of printed cards (4 variations of 12 cards in total: dim, mid, bright and normal for switching out) ready for your immediate use and two DVD’s. One with the instructions and the other with a pdf manual and 165 printable cards to create your word additional cards. This is definitely geared toward the mentalist performer and Very Highly Recommended!

Narcissus— (by Chris Philpott) $59.95 AVAILABLE: All magic dealers WHOLESALE: www.murphysmagic.com The Effect: You can now perform The 100th Monkey principle close up! The basic effect is that a picture of a spectator taken with their phone while they are holding a printed card. The photo magically changes when they view the photo so that the printed card is now different. My favorite effects from the DVD which contains five great effects. All are excellent: The Fortune Teller You give your volunteer a card with a picture of a "haunted" fortune teller machine on one side and foreign writing on the other. You borrow a cell phone and take a picture of the spectator holding the card. When they look at the photo on their phone, the foreign words have changed to English and they give the spectator's fortune. I Want to See My Future You take a picture of a spectator holding a card that reads "I want to see my future!" But when they look at the photo on their phone, the words on the card have changed to reveal her future and it’s very funny. I won’t spoil it for your here. MY THOUGHTS Chris discovered a principle where your volunteer will see one set of words while the audience sees another. VANISH MAGAZINE


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